( ORIGINAL  PORTRAITS 
WASHINGTON 


V 


Digitized  by  the  Internet  Archive 

in  2013 


http://archive.org/details/originalportraitOOjohn 


Plate  I. 


Charles  Wilson  Peale. 

See  P:ige  5. 


\ 


- 


V 


ORIGINAL 


PORTRAITS  OF  WASHINGTON 

INCLUDING 

STATUES,  MONUMENTS,  AND  MEDALS 


BY 

ELIZABETH  BRYANT  JOHNSTON 


**  It  is  indeed  almost  as  difficult  to  draw  his  character  as  the  portrait  of  Virtue? 

Fisher  Ames. 


JAMES  R. 


BOSTON 
OSGOOD  AND 

1882 


COMPANY 


Copyright,  1881,  by  Elizabeth  B.  Johnston. 


STEREOTYPED  AND  PRINTED  BY  RAND,  AVERY,  AND  COMPANY, 
117  FRANKLIN  STREET,  BOSTON. 


€o  t^e  Memory  of 


JAMES    ABRAM  GARFIELD 


Volume  ^cDtcatcD, 


PREFACE. 


HE  individuality  of  portraiture  is  such  that  it  attains  almost 
personal  interest  when  a  portrait  has  been  a  prized  possession 
through  generations.  The  dates,  incidents,  and  associations  that 
mark  its  existence,  assume  a  significance  which  intensifies  with 
years,  and  is  not  infrequently  the  chief  value  of  such  pictures.  The  record 
of  each  work  of  art  is  unique,  and  as  distinctively  individual  as  the  life  of  a 
man  :  in  this  truth,  aesthetic  taste  and  culture  receive  their  charm  and  reward. 

Portraits  of  Washington  are  a  national  possession,  and  their  history  right- 
fully belongs  to  the  American  people.  As  the  result  of  the  universal  recogni- 
tion of  the  character  of  Washington  during  his  life,  we  have  of  him  a  large 
number  of  original  portraits.  Many  of  these  are  far  from  acceptable  as  works 
of  art ;  others  are  even  grotesque  in  composition  and  expression  :  yet  there  is 
no  reason  to  doubt  that  his  exact  features,  proportions,  expression,  and  char- 
acter have  been  faithfully  portrayed  from  early  manhood  to  old  age.  Admirers 
of  Peale,  Trumbull,  Stuart,  each  claims  that  his  favorite  artist  has  left  the  por- 
trait which  should  be  considered  the  standard.  It  must  be  conceded  that  no 
artist  succeeded  in  producing  an  entirely  satisfactory  portrait.  Still  it  is  a 
matter  of  congratulation  that  we  have  the  elements  from  which  to  compose 
this  desired  work :  they  may  be  found  in  the  figure  of  Trumbull,  the  expres- 
sion of  Peale  or  Stuart  at  different  periods  of  Washington's  life,  the  ungainly 
fidelity  of  Wright,  the  profile  of  Sharpless,  the  drawing  of  St.  Memin,  or  the 
life-moulding  of  Houdon. 

The  large  number  of  portraits  proven  to  have  been  original  may  provoke 


vi  Preface. 

a  smile  in  the  reader,  as  they  have  amused  the  writer,  and  will  suggest,  to 
one  who  has  given  the  matter  only  passing  attention,  an  over-proportion  of 
•  personal  vanity  on  the  part  of  Washington.  This  is  an  unjust  conclusion ;  for 
the  truth  is  developed,  that  the  American  hero  was  made  a  martyr  to  the 
devotion  of  his  friends  at  home  and  his  admirers  abroad.  We  have  him 
presented  as  citizen,  soldier,  statesman,  and  patriarch.  Artists  followed  him 
through  campaigns,  visited  him  at  Mount  Vernon,  sketched  him  on  parade, 
in  the  council-room,  at  dinner,  drew  his  features  in  the  church  and  in  the 
theatre.  Washington  was  proverbially  a  bad  sitter :  and  he  became  so  restive 
under  these  increasing  demands,  that  he  was  wont  to  declare,  even  in  the 
earlier  years  of  his  military  career,  that  each  yielding  to  such  requests  should 
be  the  last ;  but  he  finally,  not  very  gracefully  it  must  be  confessed,  would 
submit  to  the  inevitable.  Old  comrades  naturally  desired  a  counterpart  of  the 
face  and  form  they  had  watched  in  many  an  hour  of  peril ;  women  often 
asked  the  favor  of  a  portrait  of  the  leader  of  the  armies  in  which  their 
husbands  and  their  sons  fought ;  artists  were  sent  by  monarchs  and  nobles  of 
Europe  to  secure  an  accurate  rendering  of  the  features  of  the  citizen  of  the 
New  World  who  commanded  their  veneration.  In  the  history  of  man,  there  is 
not  to  be  found  a  parallel  to  the  wide-reaching  respect  and  admiration  given 
personally  to  Washington ;  nor  has  a  century  subdued  the  world's  ardor.  In 
1863,  while  ascending  a  mountain-road  near  Lake  Lugano,  Italy,  an  American 
traveller  entered  a  small  pavilion,  a  wayside  resting-place,  wherein  he  found 
only  a  bust  of  Washington.  It  bore  no  inscription,  but  was  in  itself  an 
eloquent  tribute  from  some  lover  of  liberty. 

Each  one  of  these  portraits  of  Washington  has  now  a  history  of  more 
or  less  interest,  linking  together  many  memories  and  family  legends.  It  is 
a  matter  of  surprise  how  frequent  are  the  quotations  of  the  assurance  of 
some  contemporary  of  the  original,  —  Marshall,  Jefferson,  Lafayette,  or  Custis, 
-that  a  particular  picture  is  the  very  best  likeness.  Lafayette  especially,  it 
is  often  said,  was  wont  to  exclaim  in  his  enthusiastic  French  way,  "Ah,  this 
is  indeed  my  old  friend !  " 

In  the  study  of  the  portraits  of  Washington  by  so  many  different  artists 
•and  at  various  periods,  a  new  chapter  in  the  life  of  the  man  is  unveiled ;  for 
in  them  are  seen  the  exaltation  of  patriotism,  the  scars  of  war,  the  sternness 


of  command,  the  deep  lines  carved  by  civil  responsibility,  and  the  softening 
light  thrown  over  all  at  last,  in  the  delights  of  retirement  and  domestic  quiet. 

Much  has  been  published  concerning  Washington  portraits,  with  extended 
criticisms,  and  frequent  disagreements  in  fixing  the  standard  head.  This 
volume  purports  to  be  only  a  history  of  these  portraits,  and  the  design  has 
been  to  embrace  every  recognized  presentation.  In  the  desire  to  make  the 
work  exhaustive,  not  even  the  most  grotesque  has  been  omitted,  nor  those 
which  could  only  be  commended  by  the  knowledge  that  they  were  drawn  from 
life.  All  are  included,  from  the  rich  canvas  of  Gilbert  Stuart  to  the  shadow- 
profile  drawn  by  Nelly  Custis,  from  the  life-cast  by  Houdon  to  the  wax 
bust  by  Patience  Wright.  It  has  caused  regret  that  there  are  so  many  poor 
presentations  of  Washington.  The  only  comfort  possible  is  the  theory  of  the 
"  survival  of  the  fittest,"  and  the  assurance  that  the  indifferent  will  soon  be 
recognized  merely  as  relics.  Histories  of  memorials,  forming  a  harmonious 
sequence  to  original  portraits,  have  been  added,  from  the  gold  medal  ordered 
by  the  Continental  Congress  in  1776,  to  the  most  recent  statue,  unveiled 
Feb.  22,  1879.  Occasional  reference  has  been  made  to  familiar  engravings 
of  portraits,  prints  used  to  prove  originals,  and,  for  each  artist,  the  more 
important  engravers  named ;  but  no  special  attention  has  been  accorded  to  the 
engraved  heads,  —  a  subject  demanding  patience  and  research;  partly  because 
of  the  exhaustive  manner  in  which  it  has  been  treated  by  Mr.  William  S. 
Baker  in  his  recent  valuable  work  entitled  "  Engraved  Portraits  of  Wash- 
ington." 

It  will  be  observed  that  the  birthday  of  the  nation,  or  of  Washington, 
has  been  usually  chosen  as  the  appropriate  day  on  which  to  dedicate  such 
tributes.  The  nth  of  February,  O.S.,  was  first  observed  publicly  at  the  court- 
house of  Talbot  County,  Virginia,  in  1783;  and  the  first  occasion  on  which  the 
22d  was  substituted  was  at  Philadelphia,  in  1 791.  This  day  was  in  1880,  by 
the  Congress  of  the  United  States,  solemnly  set  apart  and  designated  as  a 
legal  holiday  in  the  District  of  Columbia ;  and  the  observance  of  it  as  a 
holiday  is  the  unwritten  law  of  the  land. 

The  dedication  of  this  volume  to  President  Garfield  was  in  press  when 
the  sad  event  of  the  19th  of  September  caused  it  to  be  changed  to  a  memo- 
rial.    The  interest  he  expressed  in  anticipation  of  the  publication  of  this 


viii  Preface. 

work  in  the  last  interview  I  had  with  him  will  ever  be  a  cherished  remem- 
brance. Of  the  various  reasons  for  making  such  a  dedication,  beside  the  per- 
sonal pleasure  it  gives  me  to  thus  link  the  names  of  Washington  and 
Garfield,  —  the  Father  of  his  Country  and  the  Son  of  his  Country,  —  perhaps 
the  compelling  one  is  the  fact  that  I  have  never  met  a  man  more  appre- 
ciative of  the  first  President's  greatness  than  he  whose  untimely  death  a 
nation  mourns. 

The  difficulty  and  the  labor  of  this  book  are  not  readily  appreciated. 
I  will  only  say,  the  very  unimportance  of  the  matter  handled  has  often  been 
an  embarrassment.  Yet  nothing  has  been  allowed  to  be  despised  because  of 
seeming  insignificance ;  and  I  have  religiously  endeavored,  by  "  eschewing 
perplexity,  casting  awaye  the  chaff  of  superfluity,"  to  escape  the  offensive  repe- 
tition almost  unavoidable  in  a  work  of  this  nature.  The  fear  of  being  accused 
of  hero-worship  has  not  been  before  my  eyes  "in  stirring  up  your  pure  minds 
by  way  of  remembrance,"  while  gathering  and  presenting  the  multiplied  evi- 
dences of  personal  affection  and  general  appreciation  offered  Washington  in 
connection  with  his  portraits.  This  country  has  been  in  great  danger  of 
suffering  from  the  want  of  reverence,  especially  in  regard  to  the  illustrious 
men  to  whom  it  owes  its  existence;  and  the  recent  infusion  of  a  wholesome 
quantity  of  hero-worship  will  be  healthful  and  elevating.  What  youth  of  the 
land  has  not  had  his  better  nature  strengthened  through  the  example  of  noble 
manhood  brought  to  the  door  of  the  rich  and  poor  alike  in  this  year  of  trial ! 
What  mother  has  not  been  encouraged  in  the  unequal  struggle  to  put  bread 
in  the  mouths  of  her  little  ones ;  what  wife  will  not  feel  the  exaltation  of  daily 
sacrifice,  at  which  she  has  sometimes  murmured,  since  through  deep  affliction 
two  noble  women  have  become  better  known  to  the  world !  The  salutary 
lesson  of  the  hour  was  a  nation's  need,  to  teach  us  that  the  recognition  of 
good  impels  the  development  of  good.  For  years  a  carping  press  has  been 
nibbling  at  the  pedestal  on  which  the  heart  and  conscience  of  this  republic 
has  placed  Washington  ;  and  the  great  Englishman,  Carlyle,  once  asked  if  we 
"could  not  lower  him  a  little."  We  might,  with  shame,  confess  that  such 
appears  to  be  the  aim  of  a  large  number  of  our  countrymen,  rather  than  an 
endeavor  to  reach  the  manly  height  of  justice  and*  patriotism  which  he 
attained.     But  with  pride  we  answer,  "  No,  we  cannot  lower  him ;  for,  search 


Preface.  ix 

his  records  as  we  will,  on  no  action  of  his  life  do  we  find  branded  a  price." 
The  fierce  light  engendered  by  a  century's  criticism  now  falls  around  him ;  and 
the  civilized  world  —  not  America  alone  —  asks,  "  Who  can  stand  beside 
him  ? "  The  reply  girdles  the  earth,  "  Not  one :  he  is  the  capital  of  the  pillar 
of  fame."  E  B  J 

Washington,  Sept.  28,  1881. 


ACKNOWLEDGMENT. 


N  giving  the  history  of  original  portraits,  the  author  has  at  all  times, 
when  attainable,  preferred  the  opinion  of  Washington's  contem- 
poraries as  to  the  relative  merits  of  these  works,  to  the  expression 
of  her  own  estimate  in  regard  to  them.  While  due  credit  is 
accorded  to  Dunlap,  Tuckerman,  Irving,  Everett,  Custis,  Lossing,  Mason,  Baker, 
Darling,  McRea,  and  other  writers  upon  the  subject,  it  will  be  seen  that  a  large 
portion  of  the  data  has  been  received  through  different  mediums,  —  such  as 
government  archives,  unpublished  diaries,  letters;  and  from  living  sources, — 
members  of  the  Washington  family,  and  the  owners  of,  or  those  familiar  with,  the 
works.  Any  portrait  or  memorial  that  has  not  been  brought  to  notice  in  this 
volume  will  be  put  in  its  proper  place,  if  the  owner  will  give  its  history,  or 
vouch  for  its  authenticity.  A  list  of  the  names  of  obliging  correspondents 
and  others  who  have  generously  responded  in  the  tedious  work  of  bringing 
to  light  the  minute  details  of  this  picture-biography  are  herewith  affixed.  The 
author  is  most  happy  to  avail  herself  of  this  opportunity  of  acknowledging  her 
indebtedness. 

Stephen  M.  Allen,  Charles  Amory,  Archer  Anderson,  Mrs.  Emily  W.  Appleton,  Nathan 
Appleton,  W.  H.  Appleton,  Samuel  P.  Avery,  William  S.  Baker,  Mrs.  Emily  Swift  Balch,  Charles 
Washington  Ball,  Mrs.  Augusta  Peale  Barker,  Charles  G.  Barney,  M.D.,  E.  M.  Barton,  Elisha 
Bassett,  Rafael  A.  Bayley,»  George  Blight,  Mrs.  Dr.  Bogart,  A.  S.  Boteler,  Rev.  William  F.  Brand, 
Miss  E.  R.  Braxton,  J.  Carson  Brevoort,  S.  A.  Bridges,  R.  A.  Brock,  William  Buchler,.  Henry  D. 
Burroughs,  D.D.,  George  B.  Butler,  Mrs.  Martha  Custis  Williams  Carter,  William  F.  Channing,  M.D., 
James  Chesnut,  I.  Edwards  Clarke,  W.  D.  Clemson,  George  B.  Clitherall,  Mrs.  Arthur  Codman, 
Edward  Coles,  L.  L.  Conrad,  Mrs.  Angelica  S.  Cooper,  W.  W.  Corcoran,  Dr.  Elliott  Coues,  U.S.A., 

xi 


Xll 


Acknowledgment 


Mrs.  M.  M.  Crafts,  Mrs.  M.  V.  Dahlgren,  Charles  VV.  Darling,  Carl  C.  Darwin,  Charles  Deane,  Mrs. 
De  la  Roche,  Frederic  de  Peyster,  John  M.  DeSaussure,  Doll  &  Richards,  Theodore  F.  Dvvight,  W. 
Harrison  Eisenbrey,  Joseph  P.  Elliott,  Miss  Elizabeth  T.  Ewcll,  John  Hoye  Ewing,  Mrs.  Wilson  Eyre, 
Samuel  B.  Fales,  Hon.  Hamilton  Fish,  Robert  J.  Fisher,  Miss  Fitzhugh,  Henry  D.  Fraser,  M.D., 
William  K.  Gilbert,  M.D.,  Mrs.  George  R.  Goldsboro,  Miss  Elizabeth  M.  Grant,  Hon.  Horace  Gray, 
Samuel  A.  Green,  M.D.,  Charles  Gulager,  William  Gulagcr,  Alexander  Hamilton,  G.  W.  Harris,  Mrs. 
E.  L.  C.  Harrison,  Charles  J.  Hoadley,  Mrs.  W.  J.  Hubard,  W.  J.  Irwine,  M.D.,  Mrs.  A.  D.  Johnston, 
John  Taylor  Johnston,  Horatio  Gates  Jones,  S.  H.  Kearney,  Mrs.  Beverly  Kennon,  Moses  Kimball, 
Miss  Annie  S.  King,  John  H.  B.  Latrobe,  G.  W.  Custis  Lee,  John  W.  M.  Lee,  W.  H.  Fitzhugh  Lee, 
H.  L.  Daingerfield  Lewis,  Mrs.  Morton  Lewis,  William  D.  Lewis,  R.  B.  Lilley,  Charles  B.  Loring, 
E.  D.  Marchant,  Brantz  Mayer,  John  A.  McAllister,  Miss  Jane  Byrd  McCall,  J.  C.  McGuire,  J. 
Howard  McHenry,  William  McLeod,  Sherwin  McRea,  Williams  Middleton,  Miss  Virginia  Miller,  Mrs. 
Jane  Washington  Moncure,  John  T.  Montgomery,  C.  B.  Moreau,  Mrs.  Thomas  H.  Morris,  Thomas 
Muir,  Thomas  Neilson,  David  Nichols,  Herbert  Norris,  M.D.,  Charles  S.  Ogden,  Titian  R.  Peale, 
J.  S.  Perot,  the  Misses  Phillips,  Henry  E.  Pierrepont,  M.  B.  Poitiaux,  Mrs.  J.  V.  L.  Pruyn,  Mrs. 
W.  H.  H.  Raleigh,  Mrs.  Anna  R.  Reilly,  Miss  Carrie  H.  Richardson,  George  W.  Riggs,  Marquis  de 
Rochambeau,  Francis  Robert  Rives,  Edmund  Law  Rogers,  E.  C.  Rowe,  John  Sartain,  the  Misses 
Savage,  Mrs.  F.  C.  Sayles,  Edward  Shippen,  S.  M.  Shoemaker,  E.  R.  Silliman,  Benjamin  R.  Smith, 
A.  R.  Spofford,  John  Austin  Stevens,  T.  D.  Stone,  W.  W.  Story,  John  H.  Sturgis,  Mrs.  B.  Ogle 
Tayloe,  Joseph  M.  Toner,  M.D.,  Mrs.  Maria  Tuley,  Noah  Walker,  Miss  Wain,  Anna  C.  Walton, 
Mrs.  Ella  Bassett  Washington,  John  A.  Washington,  Hon.  John  Welsh,  A.  D.  Williams,  Mrs.  Wilson, 
R.  B.  Winder,  Hon.  Robert  C.  Winthrop,  S.  D.  Wyeth,  and  many  others. 

The  writings  of  the  following  authors  upon  the  subject  have  also  been  freely  consulted,  and 
valuable  corroborative  material  obtained  from  them :  John  Marshall,  Jared  Sparks,  William  Dunlap, 
Washington  Irving,  Benson  J.  Lossing,  J.  F.  Loubat,  Henry  T.  Tuckerman,  William  S.  Baker,  George 
C.  Mason,  Sherwin  McRea,  Miss  Stuart. 

The  author  is  indebted  to  the  following  publications  for  important  and  interesting  memoranda : 
The  American  Historical  Record,  Magazine  of  American  History,  Transactions  of  the  American 
Antiquarian  Societies,  Transactions  of  the  Historical  Societies  of  Maryland,  Massachusetts,  Pennsyl- 
vania, New  York,  Virginia. 


NAMES  OF  ARTISTS. 

« 


JOHN  SINGLETON  COPLEY. 
CHARLES  WILLSON  PEALE. 
NATHANIEL  FULLERTON. 
PIERRE  EUGENE  DU  CIMITIERE. 

  LABATUT. 

ROBERT  FULTON. 
WILLIAM  DUNLAP. 
MISS  DE  HART. 
JOSEPH  WRIGHT. 
ROBERT  EDGE  PINE. 
JAMES  PEALE. 
MADAME  DE  BREHAN. 
JOHN  TRUMBULL. 
EDWARD  SAVAGE. 


JOHN  RAMAGE. 

JACQUES  LUC  BARBIERE. 

CHRISTIAN  GULAGER. 

ARCHIBALD  ROBERTSON. 

WILLIAM  BIRCH. 

ADOLPH  ULRIC  WERTMULLER. 

GILBERT  STUART. 

REMBRANDT  PEALE. 

ELEANOR  PARKE  CUSTIS. 

JULIEN  DE  ST.  MEMIN. 

ROBERT  FIELD. 

WALTER  ROBERTSON. 

JAMES  SHARPLESS. 

MRS.  E.  SHARPLESS. 


SAMUEL  FOLWEL. 
B.  HENRY  LATROBE. 
SAMUEL  POWEL. 

  WILLIAMS. 

  KEMMELMYRE. 

CHARLES  G.  FRASER. 


PAINTERS.  —  Mis  c  ellan  eous. 

W.  LOUTERBOURG. 
P.  A.  PETICOLAS. 
ALEXANDER  CAMPBELL. 
F.  KISSELMAN. 
J.  HILLER,  Jun. 


SCULPTORS. 

JEAN  ANTOINE  HOUDON. 
JOSEPH  AND  PATIENCE  WRIGHT. 
GIUSEPPE  CERACCHI. 

  ECCLESTON. 

JOHN  ECHSTEIN. 
WILLIAM  RUSH. 
ANTONIO  CANOVA. 
SIR  FRANCIS  CHANTREY. 
HORATIO  GREENOUGH. 


THOMAS  CRAWFORD. 
CLARK  MILLS. 
E.  D.  BARTHOLOMEW. 
H.  K.  BROWN. 
HIRAM  POWERS. 
THOMAS  BALL. 
JOSEPH  A.  BAILEY. 
J.  Q.  A.  WARD. 


xin 


AUTOGRAPHS  OF  ARTISTS. 


XV 


xvi 


CONTENTS. 


PORTRAITS,  MINIATURES,  AND  SKETCHES. 

Page 

OHN  SINGLETON  COPLEY  Massachusetts   i 

CHARLES  WILLSON  PEALE  Maryland   4 

NATHANIEL  FULLERTON  Massachusetts  21 

ALEXANDER  CAMPBELL  Virginia  22 

PIERRE  EUGENE  DU  SIMITIERE  ....    Switzerland  24 

MISS  DE  HART  New  Jersey  27 

LABATUT  France  28 

ROBERT  FULTON     .    .    '.  Pennsylvania  28 

1 

JACQUES  LUC  BARBIERE-WALBONNE    .    .  France  29 

WILLIAM  DUNLAP  New  Jersey  30 

JOSEPH  WRIGHT  New  Jersey  32 

ROBERT  EDGE  PINE  England   39 

JAMES  PEALE  Maryland  42 

EDWARD  SAVAGE  Massachusetts  44 

MADAME  DE  BREHAN  France  48 

ADOLPH  ULRIC  WERTMULLER  Sweden  50 

CHRISTIAN  GULAGER.  Denmark  54 

ARCHIBALD  ROBERTSON  Scotland  58 

JOHN  TRUMBULL  Connecticut  64 

GILBERT  STUART  -  Rhode  Island  '.    .  77 

WILLIAM  BIRCH                           .    .                                    .  England     .    .    .    .'.        .    .  .110 

WALTER  ROBERTSON   Ireland.    .  113 

JOHN  RAMAGE  Ireland  114 

ROBERT  FIELD  England  115 

REMBRANDT  PEALE  Pennsylvania  118 

JAMES  SHARPLESS  England  128 

CHARLES  BALTHAZER  JULIEN  FEVRET  DE  ST.  MEMIN .    France  134 

HENRY  B.  LATROBE  England  136 


xvii 


XV111 


Contents. 


Page 

ELEANOR  PARKE  CUSTIS  Virginia  138 

SAMUEL  POWEL  .140 

SAMUEL  FOLWEL  •  .    .  140 

WILLIAMS  141 

KEMMELMYRE  .'  142 

P.  A.  PETICOLAS  142 

W.  LOUTERBURG  -  143 

F.  KISSELMAN  143 

CHARLES  FRASER  South  Carolina  144 


BUSTS,  STATUES,  MONUMENTS,  AND  MEDALS. 

BUSTS  146-172 

JOHN  ECHSTEIN  150 

ECCLESTON  150 

MRS.  PATIENCE  LOVELL  WRIGHT  New  Jersey  151 

JEAN  ANTOINE  HOUDON   France  153 

GIUSEPPE  CERACCHI  Italy   170 

WILLIAM  RUSH  Pennsylvania  172 

.STATUES  173-191 

ANTONIO  CANOVA  Italy  *.    .    .  173 

SIR  FRANCIS  CHANTREY  England   174 

HORATIO  GREENOUGH  Massachusetts   175 

THOMAS  CRAWFORD  New  York   176 

HENRY  KIRKE  BROWN                                                       Massachusetts   178 

EDWARD  SHEFFIELD  .  BARTHOLOMEW  Connecticut   180 

CLARK  MILLS  New  York   .    .  .181 

THOMAS  BALL .    .   Massachusetts   183 

JOSEPH  A.  BAILEY  France   184 

JOHN  Q.  A.  WARD  Ohio.  ,   189 

EDWARD  V.  VALENTINE  Virginia   191 

MONUMENTS  .:  192-234 

WASHINGTON  MONUMENT,  Baltimore,  Md   198 

WASHINGTON  MONUMENT,  Order  of  the  Society  of  the  Cincinnati   204 

WASHINGTON  AND  LAFAYETTE  MONUMENT,  Philadelphia   206 

WASHINGTON  NATIONAL  MONUMENT  ........   209 

MEDALS  235-245 

INDEX  247 


LIST  OF  PLATES. 


Note.  —  These  plates,  with  a  few  unavoidable  exceptions,  are  reproduced  from  the  original  works.  On  account  of  their  present 
condition,  it  has  been  possible  to  obtain  but  little  more  than  the  outline  of  some  of  the  paintings,  as  in  the  "  Military  Portrait,"  by  Trumbull? 
or  "Washington  before  Yorktown  "  by  Rembrandt  Pcale ;  yet  the  spirit  of  the  work  has  been  preserved.  The  absolute  truth  secured  by 
the  heliotype  process  has  been  preferred  to  any  engraving;  for  although  the  latter,  in  many  cases,  might  have  been  a  more  pleasing  picture, 


it  could  of  necessity  be  no  more  than  a  translation. 

Plate  Pace 

I.    CHARLES  WILLSON  PEALE   Frontispiece. 

Original  Painting  owned  by  Gen.  G.  \V.  C.  Lee. 

'  CHARLES  WILLSON  PEALE  .4 

Original  Miniature  in  Possession  of  William  F.  Gill. 

MADAME  DE  BREHAN    4 

Engraving  of  Cameo  Painting  owned  by  Gen.  George  B.  McClellan. 

II.  < 

JOHN  SINGLETON  COPLEY  4 

Engraving  by  J.  De  Mare. 

JOSEPH  WRIGHT  •  .     •  4 

Original  Sketch  in  Possession  of  David  Nichols. 

'  WILLIAM  DUNLAP  22 

Engraving  by  Augustus  Robin. 

PIERRE  EUGENE  DU  SIMITIERE  22 

Original  Painting  owned  by  J.  P.  McKean. 

NATHANIEL  FULLERTON  22 

Engraving  by  G.  G.  Smith. 


ALEXANDER  CAMPBELL   .       .       .  22 

Engraving  by  Joh.  Martin  Will. 

ARCHIBALD  ROBERTSON  22 

Original  Painting  on  Marble  in  Possession  of  Mrs.  M.  M.  Craft. 


IV.    ROBERT  EDGE  PINE      .  40 

Original  Painting  owned  by  J.  Carson  Brevoort. 


xx  List  of  Plates. 

Plate  Face 

V.    JAMES  PEALE  ......  42 

Engraving,  by  John  Sartain,  of  Original  Painting  in  the  Lenox  Library. 

VI.    EDWARD  SAVAGE  44 

Original  Painting  owned  by  Harvard  University. 

VII.    EDWARD  SAVAGE  46 

The  Artist's  Engraving  of  his  Painting  now  owned  by  Moses  Kimball. 

VIII.    ADOLPH  ULRIC  WERTMULLER  50 

Steel  Engraving  by  H.  B.  Hall  from  the  Original  Painting. 

IX.     CHRISTIAN  GULAGER  54 

Original  Painting  owned  by  Mrs.  Arthur  Codman. 

X.    JOHN  TRUMBULL  64 

Original  Painting  owned  by  Yale  College. 

XI.    JOHN  TRUMBULL  70 

Owned  by  City  of  Charleston,  S.C. 

XII.    GILBERT  STUART  80 

Engraving,  by  James  Heath,  of  the  "  Lansdowne  Portrait  "  by  Gilbert  Stuart. 

XIII.  GILBERT  STUART  .......  84 

Original  Painting  owned  by  Boston  AthenjEum. 

XIV.  GILBERT  STUART  90 

The  "  Faneuil  Hall  Portrait  "  owned  by  the  City  of  Boston. 

XV.  GILBERT  STUART  .      •  94 

Original  Painting  owned  by  William  F.  Channing,  M.D. 

'HENRY  B.  LATROBE  110 

Pen-and-Ink.  Sketch  owned  by  Benjamin  S.  Ewell. 

LABATUT  1 10 

Original  Miniature  on  Ivory  owned  by  Miss  E.  F.  Watson. 

WILLIAM  BIRCH  110 

XVI.  { 

Enamel  Miniature  owned  by  J.  Howard  McHenry. 

ROBERT  FIELD  .110 

Original  Painting  on  Ivory  owned  by  Charles  C  Moreau. 

P.  A.  PETICOLAS  110 

Original  Miniature  on  Ivory. 


List  of  Plates. 


Plate 

XVII.    REMBRANDT  PEALE  

Original  Bust  Portrait  in  the  Capitol,  Washington,  D.C. 


XVIII.    REMBRANDT  PEALE  

"Washington  before  Yorktown,"  from  Original  Painting  at  Mount  Vernon. 


XIX.    JAMES  SHARPLESS  

Original  Portrait  owned  by  Gen.  G.  W.  C.  Lee. 

XX.    CHARLES  BALTHAZER  JULIEN  FEVRET  DE  ST.  MEMIN 
Original  Crayon  Portrait  owned  by  J.  Carson  Brevoort. 


xxi.-! 


SAMUEL  FOLWEL 

An  Old  Woodcut. 

W.  LOUTERBOURG 


Original  Pen-and-Ink  Sketch  owned  by  Madame  De  La  Roche. 


ELEANOR  PARKE  CUSTIS  

The  Shadow  Portraits  owned  by  the  Everett  School,  Boston,  Mass. 


MRS.  PATIENCE  LOVELL  WRIGHT 
Photograph  of  Wax  Bust. 


XXII.  •{ 


WILLIAMS  

Original  in  Masonic  Lodge,  Alexandria,  Va. 


PITCHER  PORTRAIT"  .   

In  Possession  of  the  Historical  Society  of  Pennsylvania,  Penn. 


XXIII.  < 


HORATIO  GREENOUGH     .       .  .       .  . 

Marble  Statue  in  Front  of  the  Capitol,  Washington,  D.C. 


JOHN  ECHSTEIN  

Marble  Miniature  Bust  owned  by  J.  C.  McGuire. 


JOSEPH  WRIGHT  (?)  

Marble  Bust  in  Christ  Church,  Boston,  Mass. 


JEAN  ANTOINE  HOUDON  

Marble  Statue  in  the  Capitol,  Richmond,  Va. 


XXIV.-J 


THOMAS  CRAWFORD   

Equestrian  Monument,  Public  Grounds,  Richmond,  Va. 


GIUSEPPE  CERACCHI  

Original  Marble  Bust  in  the  Corcoran  Gallery  of  Art. 


xxv.-; 


JEAN  ANTOINE  HOUDON 
Plaster  Bust. 


XX 11 


List  of  Plates. 


Plate  Page 
XXVI.    JOSEPH  WRIGHT       ....       .       .       .  168 

No.  i.    Bas-Relief  in  Plaster  owned  by  Gen.  G.  W.  C.  Lee. 

No.  2.    Bas-Relief  in  Wax  owned  by  Benjamin  G.  Smith. 

XXVII.    ANTONIO  CANOVA  172 

No.  1.    Engraving  by  Aug.  Bertini. 
No.  2.    Engraving  by  Dom.  Marchetti. 

(  EDWARD  SHEFFIELD  BARTHOLOMEW  180 

Marble  Statue,  Baltimore,  Md. 

JOSEPH  A.  BAILEY  180 

Marble  Statue  in  Front  of  Independence  Hall,  Philadelphia,  Penn. 

WILLIAM  RUSH  180 

XXVIIlJ 

Statue  in  Wood,  Independence  Hall,  Philadelphia,  Penn. 

SIR  FRANCIS  CHANTREY  180 

Marble  Statue  in  the  State  House,  Boston,  Mass. 

JOHN  Q.  A.  WARD  180 

Bronze  Statue,  Newburyport,  Mass. 

'  HENRY  KIRKE  BROWN  182 

Bronze  Statue,  Union  Square,  New-York  City. 

CLARK  MILLS  182 

XXIX.  { 

Bronze  Statue,  Washington  Circle,  Washington,  D.C. 

THOMAS  BALL  182 

Bronze  Statue  in  Public  Garden,  Boston,  Mass. 

'  ROBERT  MILLS  198 

Washington  Monument,  Baltimore,  Md. 

JOHN  SARTAIN  198 

XXX.  <J 

Washington-Lafayette  Monument,  Philadelphia,  Penn. 

WASHINGTON  NATIONAL  MONUMENT  198 

Washington,  D.C. 

XXXI.    MEMORIAL  BLOCKS  220 

Washington  National  Monument. 

XXXII.    MEDALS  236 


Original  Portraits  of  Washington. 


JOHN  SINGLETON  COPLEY. 

MASSACHUSETTS. 

1737-1815. 

HE  beautiful   miniature  of  Washington   at  the  age   of  twenty-five,   and  the 
earliest  representation   of  him   known   to   exist,  has  been   attributed  to  this 
artist.      It  was  probably  one  of  his  first  productions,  yet  it  is  distinctive  in 
the  traits  which  made  Copley  famous. 
Washington  was   in    Boston   at   the   date   of  its   execution,  and   the   object   of  his 
journey  there  is  thus  related  by  Sparks  :  — 

"In  1756  Major  George  Washington,  late  aide-de-camp  to  Gen.  Braddock,  visited  Boston  for 
the  sake  of  relating  to  Gov.  Stirling  the  circumstances  attending  the  death  of  that  gentleman's 
gallant  son  at  the  fatal  battle  of  Monongahela.  It  was  then  well  known  that  the  courage  and 
experience'  of  Major  Washington,  and  the  steadfastness  of  the  colonial  troops,  had  saved  the 
remnant  of  the  British  army  on  that  day;  and  the  young  Virginian  was  naturally  the  'observed  of 
all  observers.'  " 

After  quoting  this  account,  Augustus  Thorndike  Perkins,  Copley's  biographer,  says, 
"  Mr.  Copley  painted  his  portrait  in  miniature,  which,  after  remaining  in  the  Washington 
family  for  many  years,  came  into  the  possession  of  Washington  Irving,  and  from  him  to 
George  P.  Putnam  of  New  York,  the  well-known  publisher."  It  was,  doubtless,  only 
loaned  to  Washington  Irving,  and  through  him  to  his  publishers,  who  had  it  engraved  by 
De  Mare  for  his  "  Life  of  Washington." 

While  in  their  possession,  it  is  said  to  have  narrowly  escaped  destruction  through 
a  casualty  which  happened  to  one  of  their  employees.  He  had  it  with  him  while  on  a 
boating  excursion  off  the  coast  of  Maine,  where  he  was  drowned.  Although  his  body 
was  not  recovered  for  several  days,  the  miniature  was  found  entirely  uninjured  in  its 
gutta-percha  case. 


2 


Original  Portraits  of  Washington. 


This  picture  has,  until  recently,  been  owned  by  the  Washington  family.  Gen. 
Washington  presented  it  to  his  niece,  Harriet  Washington,  the  only  daughter  of  his 
brother  Samuel,  who,  after  her  father's  death,  was  often  for  months  at  Mount  Vernon, 
and  was  one  of  Washington's  most  beloved  relatives.  She  married  Major  Andrew  Parks, 
and  presented  the  miniature  to  her  daughter,  who  married  Milton  Hansford  of  Kanawha 
County,  Virginia  (now  West  Virginia).  It  was  sent  by  this  lady's  heirs  to  New- York 
City  for  exhibition  in  the  autumn  of  1878,  and  was  sold  to  W.  H.  Huntington,  at 
present  residing  in  Paris,  who  deposited  it  at  the  Metropolitan  Museum  of  New  York. 
It  is  thus  described  :  — 

"This  picture  is  painted  upon  ivory,  and  is  in  a  perfect  state  of  preservation.  It  measures  one 
and  one-fourth  by  one  and  one-half  inches,  the  head  and  breast  filling  the  entire  space,  which  was 
probably  reduced  when  the  miniature  was  mounted  in  a  bracelet.  The  face  is  shown  in  a  three- 
quarter  view,  the  eyes  being  averted.  The  hair  is  powdered  ;  the  cravat  is  worn  high  in  the  neck  ; 
the  coat  is  blue  with  buff  trimmings  ;  and  there  is  a  buff  vest  with  embroidery.  The  head  is 
firmly  drawn,  and  well  modelled  ;  and  the  features  and  expression  are  characteristic  of  the  man, 
being  easily  recognizable  on  comparison  with  the  portraits  of  later  years.  The  color  is  good,  and 
the  whole  work  shows  the  skill  of  an  accomplished  artist." 

Authorities  differ  as  to  what  artist  produced  this  exquisite  miniature.  By  some  it 
is  attributed  to  Copley,  by  others  to  Charles  Willson  Peale.  Rembrandt  Peale,  who  was 
rather  unfortunate  in  the  matter  of  dates,  saw  the  miniature  when  it  was  in  Mr.  Putnam's 
hands,  and  said,  "  I  recognize  it  most  unmistakably  as  the  work  of  my  father."  He  cited 
the  manner  of  the  setting  as  evidence,  and  produced  in  corroboration  the  correspondence 
between  his  father  and  Mrs.  Washington.  This,  it  will  be  seen  hereafter,  was  in  regard 
to  other  miniatures  painted  by  Peale. 

We  cannot  ignore  the  assertion  of  the  Washington  family  as  to  the  age  at  which 
this  picture  was  taken  ;  but,  at  the  date  given,  Peale  was  only  sixteen  years  of  age,  and 
had  probably  never  dreamed  of  the  profession  of  fine  arts,  nor  exhibited  to  any 
noticeable  degree  the  versatility  he  afterwards  developed.  He  did  produce  miniatures 
that  looked  almost  as  youthful,  with  slight  difference  in  costume ;  the  slight  difference 
being  the  broad  lapel  of  the  Continental,  in  place  of  the  high,  narrow  collar  of  the 
British  uniform. 

Mr.  Augustus  Thorndike  Perkins  relates  that  Mrs.  Gardner  Green,  the  daughter  of 
Copley,  told  him  her  father  painted  a  portrait  of  Washington  ;  and  the  same  was  cor- 
roborated by  Miss  Mary  Copley  at  Hampton  Court,  not  long  before  her  death.  In  a 
biographical  sketch  in  the  March  number  of  Scribner's  Magazine,  1881,  Mrs.  Charles 
Amory,  grand-daughter  of  the  artist,  also  says  he  painted  Washington,  though  she  gives  a 
later  date  for  the  execution  of  the  portrait. 


jfohn  Singleton  Copley. 


3 


It  is  maintained  that  the  miniature,  in  its  modelling  and  individuality,  bears  evidence 
of  Copley ;  but  Peale,  having  been  his  pupil  for  a  short  time,  may  have  followed  him  in 
some  degree.  Between  the  conflicting  claims,  it  is  impossible  to  determine  the  author- 
ship. No  testimony  is  produced  by  the  former  owners  to  identify,  or  even  indicate,  the 
artist,  only  the  assertion  that  the  portrait  was  taken  at  the  age  of  twenty-five.  This, 
and  the  fact  that  Washington  was  in  Boston  at  the  time,  with  the  pronounced  style  of 
the  painting,  all  suggest  Copley. 

It  would  be  gratifying  if  sufficient  evidence  could  be  produced  to  identify  a  portrait 
of  Washington  by  Copley,  not  only  because  of  his  reputation,  but  because  he  was  the 
first  artist  who  painted  the  American  flag  in  England,  as  related  by  Elkanah  Watson  in 
his  journal :  — 

"The  painting"  (a  full-length  portrait  of  Mr.  Watson)  "was  finished  in  most  exquisite  style  in 
every  part  except  the  background,  which  Copley  and  I  designed  to  represent  a  ship  bearing  to 
America  the  acknowledgments  of  our  independence.  The  sun  was  just  rising  upon  the  stripes  of 
the  Union  streaming  from  her  gaff.  All  was  complete  save  the  flag,  which  Copley  did  not  deem 
proper  to  hoist  under  the  present  circumstances,  as  his  gallery  was  the  constant  resort  of  the  royal 
family  and  of  the  nobility.  I  dined  with  the  artist  on  the  glorious  5th  of  December,  1782.  After 
listening  with  him  to  the  speech  of  the  King,  formally  recognizing  the  United  States  of  America  as 
in  the  rank  of  nations,  previous  to  dinner,  and  immediately  after  our  return  from  the  House  of 
Lords,  he  invited  me  into  his  studio  ;  and  there,  with  a  bold  hand,  a  master's  touch,  and,  I  believe, 
an  American  heart,  he  attached  to  the  ship  the  stars  and  stripes.  This  was,  I  imagine,  the  first 
American  flag  hoisted  in  Old  England." 

A  miniature  nearly  resembling  the  one  under  discussion  was  presented  to  Miss 
Dandridge  of  Old  Kent  County,  Virginia,  —  a  relative  of  Mrs.  Washington.  This  picture, 
if  painted  as  early  as  1756,  coming  through  the  Dandridge  family,  was  probably  owned 
at  one  time  by  the  "  fair  widow  Custis."  It  is  now  owned  by  a  member  of  that  family 
in  Virginia,  and  was  exhibited  at  a  mechanics'  fair  in  Richmond  several  years  before  the 
civil  war.  It  was  at  that  time  set  in  a  cloak-clasp.  The  late  Thomas  H.  Wynne,  the 
distinguished  antiquarian,  and  corresponding  secretary  of  the  Virginia  Historical  Society, 
was  attracted  by  this  picture  ;  and,  believing  it  to  be  the  work  of  Copley,  he  had  it  faith- 
lully  copied.    The  copy,  of  cabinet  size,  is  now  in  possession  of  his  widow. 


CHARLES  WILLSON  PEALE. 

MARYLAND, 
1741-1827. 

ITIAN  RAMSAY  PEALE,  the  son  of  this  artist,  is  the  authority  found  for 
the  statement  that  he  painted  Washington  from  life  fourteen  times,  —  in  full, 
three-quarter,  half-length,  and  in  miniature.  From  these  original  portraits 
he  made  many  copies.  It  is  to  Peale  that  we  are  under  especial  obligations 
for  our  familiarity  with  Washington  in  the  full  vigor  of  manhood,  ere  the  heavy  respon- 
sibilities of  the  seven-years'  struggle  had  carved  lines  upon  his  brow,  or  the  incessant 
cares  of  state  had  added  dignity,  almost  severity,  to  his  countenance.  Nearly  a  quarter 
of  a  century  ('lapsed  between  the  execution  of  the  first  portrait,  painted  at  Mount  Vernon, 
and  the  last,  which  was  painted  in  Philadelphia. 

The  life,  character,  and  gifts  of  Charles  Willson  Peale,  form  a  chapter  full  and  varied 
in  interest.  He  is  not  an  insignificant  member  of  that  group  of  remarkable  men  whose 
achievements  in  the  Revolution  enforce  the  impression  that  they  were  raised  up  to  meet 
the  need  ot  the  times.  Though  he  had  not  the  sacred  fire  of  genius,  he  had  the  genius 
of  industry,  and  his  talents  were  of  wonderful  versatility.  His  name  belongs  to  the  class 
styled  "  self-made  men,"  as  his  early  advantages  were  meagre.  He  had  so  many  callings 
that  he  might  have  been  subject  to  the  aphorism,  "  Jack  at  all  trades,  master  of  none," 
if  he  had  not  left  creditable  record  in  more  than  one  of  them.  He  was  saddler,  silver- 
smith, watchmaker,  carver  in  ivory,  schoolmaster,  painter,  engraver,  soldier,  inventor,  author, 
legislator  ;  and  in  none  of  these  occupations  did  he  fail  to  command  respect.  We  find  it 
recorded  of  him  that  he  "  was  a  leading  promoter  of  the  Pennsylvania  Academy  of  Fine 
Arts,  was  the  first  American  popular  lecturer  on  natural  history,  opened  the  first  American 
museum,  and  was  the  first  American  manufacturer  of  enamelled  teeth."  He  wrote  and 
published  valuable  essays  upon  scientific  subjects,  and  was  a  devoted  student  of  the 
hidden  laws  of  nature.  He  was  distinguished  for  his  genial  character,  his  exalted  and  self- 
sacrificing  patriotism,  his  wise  judgments,  his  generosity  as  an  artist,  and  his  unceasing 
energy. 

I  he  first  picture  of  any  degree  of  excellence  ever  seen  by  Charles  Willson  Peale  was 

from  the  brush  of  Hesselius,  a  Swede  ;  and  he  at  once  made  overtures  to  that  artist  for 
4 


Plate  II. 


John  Singleton  Copley. 

See.  Page  t. 


Joseph  Wright. 

See  Page  36. 


Charles  Willson  Peak. 


5 


instruction,  offering  in  payment  the  "  best  saddle  that  can  be  made  in  the  State  of  Mary- 
land." 

He  made  a  visit  to  Boston,  and  studied  for  a  short  time  with  Copley,  whore  encour- 
agement strengthened  his  determination  ;  but  he  was  not  content  until  he  crossed  the 
Atlantic,  and  received  instruction  from  Benjamin  West.  Notwithstanding  his  eventful  life, 
and  the  cares  and  expense  of  a  large  family,  he  never  flagged  in  his  devotion  to  art ; 
and  one  of  his  last  works  is  a  full-length  portrait  of  himself  at  the  advanced  age  of 
eighty-three. 

The  keynote  of  his  life  is  given  in  this  insciiption  on  the  "Family  Group,'  now 
owned  by  the  New- York  Historical  Society:  "  C.  W.  Peale  painted  these  portraits  of  his 
family  in  1773;  wishing  to  finish  every  work  he  had  undertaken,  completed  this  picture 
in  1809."  This  large  canvas  contains  portraits  of  the  artist,  his  wife  and  children,  David 
Ramsay  the  historian,  and  the  trusty  custodian  of  the  museum,  his  good  dog  Argus, 
whose  figure  was  the  last  one  introduced. 

In  1772,  immediately  after  his  return  from  Europe,  Mr.  Peale  was  invited  to  Mount 
Vernon,  where  he  painted  the  first  life-size  portrait  of  Washington.  It  is  a  three-quarters 
length,  and  represents  him  as  a  comparatively  young  man, — quite  young  in  appearance 
for  his  forty  years.  The  bright  colors  of  the  uniform,  —  that  of  a  colonel  of  the  Virginia 
militia, — and  his  own  high  color,  give  a  rich  tone  to  the  picture.  The  costume  is  closely 
copied,  and  its  details  are  now  accepted  as  historic,  —  blue  coat  with  scarlet  facings,  scarlet 
waistcoat  and  breeches,  with  a  purple  scarf  passing  over  the  left  shoulder,  and  tied  at  the 
right  hip.  The  hilt  of  his  sword  is  just  visible  at  the  left  side,  and  he  wears  the  regi- 
mental cocked  hat.  In  his  left  hand,  which  is  thrown  behind  him,  is  a  musket;  and  the 
right  hand  is  thrust  within  his  waistcoat.  From  a  ribbon  around  his  neck  is  suspended  a 
gorget, — a  pendant  silver  ornament,  —  engraved  with  the  royal  arms,  which  was  worn  at 
that  time  by  officers  of  the  British  service  when  on  duty,  as  a  badge  of  authority.  A 
button  with  the  number  of  the  regiment,  "22,"  was  cut  from  this  military  coat  in  1798 
by  Robert  Field,  the  amateur  English  artist,  who  was  tempted  to  the  pious  theft  by  seeing 
the  coat  in  the  guest-chamber  where  he  slept.1 

While  Mr.  Peale  was  painting  this  portrait,  he  remained  at  Mount  Vernon  a  fort- 
night, and  succeeded  in  producing  a  brilliant  and  graceful  picture.  The  progress  of  the 
painting  is  quaintly  interleaved  by  Washington  in  a  copy  of  the  "  Virginia  Almanack  for 
the  year  of  our  Lord  God  1772,"  under  the  heading,  "Where  &  how  my  time  is 
spent." 

"May  18.  —  Went  up  to  court  and  stayed  all  night.  In  the  evening,  Mr.  Peale  and  J.  P. 
Custis  came  to  Mount  Vernon. 

1  See  Lossing's  Mount  Vernon  and  its  Associations. 


6  Original  Portraits  of  Washington. 

"  May  iQ. — Mrs.  Barnes  came  up  to  Alexandria,  I  returned  home  in  the  afternoon  &  found 
Col°  Blackburn  &  Lady,  Miss  Scott,  Miss  Brown  &  Docf  Brown  here,  who  came  before  dinner, — 
also  found  Mr.  Peale  &  J.  P.  Custis. 

"May  20. — Col°  Blacburn  &  the  compy  with  him  went  away  after  breakfast.  I  sat  to  have 
my  Picture  drawn. 

"May  21. —  ...  I  sat  again,  to  take  the  drapery 

"  May  22.  —  Set  for  Mr.  Peale  to  finish  my  Face,  —  in  the  afternoon  Rid  with  him  to  my 

mill." 

A  French  biographer  of  the  "elder  Peale"  congratulates  us  on  having  a  portrait  of 
Washington  in  his  prime,  and  says,  "  So  highly  esteemed  was  this  picture,  that  it  has 
been  reproduced  more  than  an  hundred  times  by  painting  and  engraving."  It  is  known 
as  the  "Colonial,"  or  "Virginia  Colonel"  portrait;  was  inherited  by  the  adopted  son  of 
Washington,  George  Washington  Parke  Custis;  and  has  remained  in  the  Arlington 
collection,  being  now  the  property  of  the  grandson  of  Mr.  Custis,  Gen.  G.  W.  C.  Lee. 
During  the  civil  war  it  was  secreted  in  a  cellar,  where,  unfortunately,  it  was  somewhat 
injured  by  the  dampness,  but  has  been  skilfully  restored.  It  is  familiar  through  engrav- 
ings in  Irving's  "  Life  of  Washington,"  Vol.  II.,  and  also  in  Sparks's  Life.  Edmund  Law 
Rogers  of  Baltimore,  a  lineal  descendant  of  Mrs.  Washington,  has  an  exquisite  copy  of  it 
recently  painted. 

At  the  time  of  the  division  of  the  personal  effects  of  Washington,  the  gorget  was 
given  to  Mrs.  Martha  Peter,  grand-daughter  of  Mrs.  Washington,  and  by  her  was 
presented  in  1813  to  Josiah  Ouincy.  He  transferred  it  to  the  Washington  Benevolent 
Society  of  Boston.  After  the  dissolution  of  that  society,  it  was  returned  to  Mr.  Ouincy, 
during  whose  life  it  was  once,  on  a  public  occasion,  carried  through  the  streets,  hung  upon 
a  banner  of  the  revolution 

The  ribbon  that  was  worn  with  it  at  Braddock's  defeat  is  still  attached  to  it.  In 
1823  Mr.  Ouincy  committed  this  relic  to  the  keeping  of  his  daughter,  Miss  Eliza  Susan 
Ouincy,  who  exhibited  it  at  the  Centennial  Exposition  in  Philadelphia ;  and  on  the  5th 
of  May,  1877,  in  accordance  with  her  father's  will,  she  presented  it  to  the  Massachusetts 
Historical  Society. 

The  bust-study  for  this  portrait  was  retained  by  the  artist,  and  afterwards  finished  at 
his  leisure.  It  was  familiar  for  many  years  to  the  visitors  of  the  Peale  Gallery,  upon 
the  dispersion  of  which,  this  valuable  first  portrait  was  purchased  by  its  present  owner, 
Charles  S.  Ogden  of  Philadelphia,  in  whose  possession  it  remains. 

Peale  did  not  repeat  this  work,  but  used  it  as  an  aid  in  several  miniatures  produced 
within  a  short  period  of  time  ;  and  that  they  appear  to  be  of  a  younger  man  than  those 
of  his  full-size  portraits  executed  during  the  war  is  explained  by  this  fact. 


Charles  Willson  Peale. 


7 


In  1776  Peale  painted  portraits  of  Gen.  and  Mrs.  Washington  for  John  Hancock. 
The  destination  of  Washington's  is  thought  to  be  explained  by  a  quaint  "  letter  from  a 
gentleman  on  Rhode  Island,"  contributed  to  "  The  Pennsylvania  Packet "  of  Nov.  10,  1778. 

"Thursday  the  26th  of  November  next  is  appointed  by  Authority  to  be  obferved  as  a  day  of 
Thankfgiving  Prayer  and  Praife  throughout  this  State.  Monday  fe'ennigKt,  a  large  company  of 
gentlemen  and  ladies  dined  on  board  the  Languedoc  at  the  invitation  of  Count  d'Eftaing.  The 
entertainment  was  highly  elegant.  A  picture  of  General  Wafhington  at  full-length,  lately  prefented 
to  the  Count  by  General  Hancock,  was  placed  in  the  center  of  the  upper  fide  of  the  room,  the 
frame  of  which  was  covered  with  laurels." 

Charles  Hector,  Count  d'Estaing,1  was  the  vice-admiral  of  the  French  fleet  then  in 
the  harbor  of  Newport,  R.  I.,  and  "  The  Languedoc  "  was  his  flagship.  The  count  returned 
to  France  in  1780,  and  was  guillotined  in  1794.  After  his  death  no  further  mention  of 
the  portrait  is  made.  An  engraving  by  Norman,  published  in  17S2  by  John  Coles,  "Taken 
from  an  original  Picture  in  possession  of  His  Ex'cy,  Gov.  Hancock,"  indicates  that  the 
governor  owned  a  picture  after  the  fete  on  "  The  Languedoc."  There  is  no  other  record 
of  two  paintings  by  Peale  being  executed  for  John  Hancock ;  yet  the  evidence  of  an 
engraving  cannot  be  ignored  :  therefore  the  Washington  portrait  of  which  this  print  testi- 
fies may  at  any  time  be  found,  —  the  gem  of  some  modest  collection,  or  holding  an 
honored  place  in  an  old  homestead.  Engraving,  of  all  the  arts,  yields  most  pleasure,  is 
most  extended  in  its  influence,  and  the  gentlest  in  its  teachings.  Not  the  least  important 
mission  of  the  burin  is  that  of  witness  for  the  brush.  Occasionally  the  right  of  a  portrait 
of  Washington  to  be  considered  original  can  only  be  sustained  by  the  testimony  of  an 
enoravinor 

In  1777  Congress,  then  sitting  in  Philade'phia,  ordered  a  full-length  of  life-size. 
This  historic  canvas  was  begun  at  the  camp  of  Valley  Forge  in  1778,  in  the  midst  of  the 
most  disheartening  scenes,  and  at  the  most  critical  period  of  the  Revolution.  Before  it 
was  completed,  the  battles  of  Princeton  and  Monmouth  were  fought.  The  soldier-artist 
shared  in  all  the  privations  of  this  time  "  which  tried  men's  souls,"  at  each  engagement 
gallantly  leading  his  company,  and,  in  the  language  of  another  soldier,  "  He  fit  and  painted, 
and  painted  and  fit." 

During  a  sitting  at  Princeton,  Peale,  by  Washington's  suggestion,  introduced  a  view  of 
the  town  as  seen  from  a  window  of  his  headquarters,  showing  Hessian  prisoners  under 
guard.  This  was  to  commemorate  the  brilliant  victory  of  Jan.  3,  when  the  British  army, 
encamped  near  the  college,  was  surprised  at  sunrise,  and  routed  in  twenty  minutes,  —  a 

1  A  bust  by  Houdon  of  this  brave  French  officer  is  in  the  gallery  of  the  late  Joseph  Harrison,  Philadelphia. 

D'Estaing  was  devoted  to  the  cause  of  the  Revolution    received  a  land  grant,  and  became  a  citizen  of  the  State  of 

r 

Georgia. 


8  Original  Portraits  of  Washington. 

victory  which  re-inspired  the  drooping  spirits  of  the  colonists.  Several  captured  regimental 
flags  are  on  the  ground  beside  him,  conspicuous  among  them  being  the  British  ensign 
with  the  red  cross  of  St.  George.  Washington  wears  the  full  uniform  of  the  commander- 
in-chief.  His  left  hand  rests  upon  a  cannon  ;  and  the  right,  holding  his  hat,  is  placed  on 
his  hip.  The  continental  flag,  a  circlet  of  stars  in  a  blue  field,  floats  over  his  head  ;  and 
we  are  told  it  was  sketched  on  the  battle-field. 

The  uniform  is  most  carefully  followed.  "The  sword  of  Princeton"  was  a  few  years 
ago  offered  to  the  United-States  Government  by  a  member  of  the  Washington  family. 
The  committee  to  whom  the  matter  was  submitted  compared  it  with  the  sword  in  the 
picture, — at  that  time  in  the  Patent  Office,  —  and  it  was  found  to  be  a  facsimile. 

This  picture  was  finished  in  Philadelphia,  and  bears  date  1779.  Congress  adjourned 
without  making  an  appropriation  for  it:  so  it  was  left  on  the  hands  of  the  artist.  It  has 
quite  an  interesting  history.  Peale  sent  it  to  Europe,  hoping,  as  he  said,  "  to  get  some- 
thing clever"  for  it,  but  was  so  unfortunate  as  to  receive  nothing-.  He  confided  it  to  the 
care  of  a  gentleman,  who  proposed  selling  it  in  Madrid.  The  artist  was  always  unrecon- 
ciled to  the  loss  of  this  picture,  and  in  the  last  year  of  his  life  asserted  that  it  had  never 
been  paid  for.  His  feeling  on  the  subject  is  shown  in  a  series  of  letters  written  by  him 
to  William  Carmichael,  who,  it  appears,  was  instrumental  in  its  being  taken  abroad,  and 
was  in  some  way  responsible  for  the  picture.  The  first  letter  was  written  in  October, 
1779;  and  the  last  is  as  follows:  — 

PllILADA   Sept*    23  17S6. 

Sir,  —  I  have  never  received  any  money  from  Mr.  Brockholst  Livingston  or  any  other  person  on 
your  account.  When  you  so  obligingly  offered  to  assist  me  in  the  sale  of  the  portrait  of  General 
Washington,  I  did  hope  to  have  got  something  clever  for  the  picture.  When  you  reflect  on  my 
situation,  having  known  my  difficulties,  and  having  a  large  family  to  maintain  by  my  labours  alone, - 
you  must  know  that  the  price  of  a  whole  length  picture  is  no  trifle  to  me  —  more  surely,  I  need  not 
say  to  induce  you  to  let  me  hear  from  you  soon,  which  will  much  oblige  your  friend  and  humble 
servan 

C.  W.  PEALE. 

•  To  the  Honorable  W»  Carmichal. 

After  Mr.  Peale's  death,  the  portrait  was  returned  to  the  United  States  through  the 
Count  de  Menou,  sometime  char ge-a"  affaires  at  Washington,  by  whom  it  was  purchased 
early  in  the  century  at  a  public  sale,  at  which  it  was  claimed  that  the  portrait  had  once 
been  the  property  of  Louis  XVI. 

Ihc  Count  de  Menou  placed  it  in  the  National  Institute,  whose  properties  were  for 
a  time  deposited  in  the  Patent  Office  at  Washington.  Wrhen  this  association  dissolved, 
the  portrait  was  sent  to  the  Smithsonian  Institution,  and  from  there  removed,  in  1876,  to 
the  Philadelphia  Academy  of  Fine  Arts.  It  is  now  temporarily  placed  in  the  Corcoran 
Gallery  of  Art. 


Charles  Willson  Peak. 


9 


The  ownership  of  this  portrait  was  a  question  pending  for  some  years  before  the 
regents  of  the  Smithsonian  Institution  ;  but,  there  being  no  record  in  the  minutes  of  the 
National  Institute  of  the  presentation  of  such  a  picture  (and  the  right  of  the  Count  to 
give  it  being  denied  by  Peale's  family),  it  seems  probable  that  he  placed  it  there  for  safe 
keeping,  as  he  was  known  to  be  financially  embarrassed.  It  is  claimed  now  by  the 
venerable  and  only  surviving  son  of  the  artist,  Titian  Ramsay  Peale,  who  wishes  to  dispose 
of  it  to  the  United-States  Government. 

An  exact  reproduction,  or  contemporary  portrait,  sold  at  the  public  auction  of  Peale's 
Museum  in  1855,  was  bought  by  its  present  owner,  H.  Pratt  McKean  of  Philadelphia,  who 
says  that  when  he  purchased  it  the  work  had  been  neglected,  and  was  in  bad  condition  ; 
but  he  had  it  perfectly  restored.  This  picture  was  doubtless  kept  by  the  artist  as  data, 
and  must  have  been  approved  by  him.  At  the  suggestion  of  friends,  Peale  painted  several 
full-length  portraits  contemporaneously  with  and  differing  only  from  the  one  ordered  by 
Congress  in  the  character  of  their  backgrounds ;  all  of  which  may  be  termed  originals,  as 
Washington  accorded  sittings  to  his  artist-friend  whenever  occasion  required  or  allowed. 

One,  the  property  of  the  Earl  of  Albemarle,  now  in  the  gallery  at  Ouiddenham  Park, 
was  shipped  in  1780  to  the  Stadtholder  of  Wurtemburg,  in  the  care  of  Henry  Laurens, 
who  was  sent  as  a  secret  emissary  to  the  Hague,  and  took  passage  in  the  packet  "  Mer- 
cury." The  ship  was  captured  by  a  British  frigate,  and  Mr.  Laurens  threw  his  despatches 
overboard ;  which  act  was  observed  by  a  British  sailor,  who  sprang  into  the  sea,  and 
secured  the  papers.  All  of  our  affairs  with  Holland  were  thus  exposed ;  and,  in  conse- 
quence, England  declared  war.  Capt.  Keppel,  commander  of  the  frigate,  claimed  the 
portrait  as  a  personal  prize,  and  presented  it  to  his  uncle,  Admiral  Lord  Keppel,  who  had 
known  Washington  when  the  young  Virginian  was  an  officer  in  Gen.  Braddock's  campaign. 
"  It  thus  became  one  of  the  treasures  of  the  Earl  of  Albemarle,  present  head  of  the 
Keppel  family  in  Norfolk." 

In  1874  Alexander  Duncan,  a  native  of  Rhode  Island,  residing  in  London,  was 
permitted  by  the  earl  to  have  made  of  this  portrait  a  copy,  which  he  presented  to  the 
Massachusetts  Historical  Society.  The  president  of  the  society,  Hon.  Robert  C.  Winthrop, 
ordered  a  frame  like  the  one  which  enclosed  the  original  picture  ;  so  that,  to  quote  his 
own  words,  "  It  may  take  its  place  in  our  gallery  precisely  as  the  original  is  now  found 
in  the  gallery  of  Lord  Albemarle." 

This  copy  has  the  following  graceful  indorsement  from  the  earl  to  Vernon  Heath, 
Esq. :  — 

Quiddenham  Park,  Attleborough,  March  31. 

Dear  Sir,  —  Of  the  skill  that  Mr.  Vivian  has  shown  in  producing  a  faithful  copy  of  my  picture 
of  Washington,  there  can  be  no  doubt  in  the  mind  of  any  one  who  has  seen,  as  I  have,  the  copy 
and  the  original  side  by  side.    The  Americans  ought,  therefore,  to  be  thoroughly  satisfied  with  a 


IO 


Original  Portraits  of  Washington. 


correct  portrait  of  their  illustrious  countryman.  If,  as  a  work  of  art,  and  not  on  account  of  its 
historical  merit,  a  finer  picture  be  not  produced,  the  fault  is  with  the  original,  and  not  with  the 
copy. 

I  am,  dear  sir,  yours  faithfully, 

ALBEMARLE. 

A  third  portrait,  an  exact  reproduction  of  the  one  intended  for  the  United-States 
Government,  was  bought  for  the  French  court  by  order  of  the  Marquis  de  La  Fayette, 
and  is  in  the  gallery  at  Versailles  (No.  4,560).  This  is  undoubtedly  the  picture  of  which 
the  Count  de  Menou  thought  he  had  come  into  possession.  On  the  engraving,  by  Wolff, 
of  this  picture,  is  this  inscription  :  — 

"Washington  (Georges) 
President  de  la  Republique  des  Etats-unis  d 'Amerique  du  Nord.  J799." 

Washington  took  much  interest  in  these  portraits,  giving  special  sittings  for  them, 
and  wearing  a  blue  scarf,  which  he  afterwards  presented  to  the  artist,  in  whose  family  it 
was  long  preserved.  The  belief  in  the  Peale  family  was,  that  "  the  blue  sash  was  the 
designation  of  a  field  '  marshal  of  France ; '  which  rank  had  been  conferred  upon  Washing- 
ton by  the  King  of  France  as  a  point  of  etiquette,  enabling  him  to  command  the  French 
generals,  our  allies." 

This  account  of  the  sash  conforms,  to  the  commonly  received  tradition,  that  Louis  XVI. 
conferred  the  rank  of  Marshal  of  France  upon  Washington.  It  is,  however,  only  referred 
to  by  contemporaries  a  few  times,  its  acceptance  having  become  more  general  since 
Washington's  death.  An  engraving  of  one  of  Trumbull's  portraits  is  inscribed  "  Marshal 
of  France,"  and  French  artists  have  inscribed  several  paintings  and  engravings  of  his  head 
"  Dictateur ; "  but  they  bear  no  indications  of  his  claim  to  a  French  title.  No  medal 
perpetuates  the  alleged  honor. 

*  An  engraved  portrait  of  Francis,  Lord  Napier,  was  presented  by  the  Earl  of  Buchan 
with  this  address,  "  To  Marshal  General  Washington;"  and  there  was  also  a  small  volume 
of  poems  dedicated  to  "  Marshal  Washington." 

It  will  be  remembered  that  it  was  agreed  between  Louis  XVI.  and  the  American 
Congress  that  the  French  troops  should  be  called  an  "  Auxiliary  Army,"  all  under  the 
command  of  his  Excellency  Gen.  Washington.  His  rank  was  surely  equivalent  to  that  of 
a  marshal  of  France,  and  he  was  always  received  in  the  French  camps  with  the  honors 
accorded  to  a  French  marshal. 

The  inconsistency  of  his  accepting  a  foreign  title,  or  in  any  way  acknowledging  alle- 
giance to  a  foreign  monarch,  while  championing  the  principles  of  republican  self-govern- 
ment, is  sufficiently  obvious  in  itself  to  disprove  the  tradition.    Washington,  however, 


Charles  Willson  Peale. 


disclaimed  all  right  to  the  honor.  In  acknowledging  the  dedication  of  an  address  to  him 
in  which  he  is  termed  "Marshal  of  France,"  he  wrote,  Jan.  31,  1785,  "It  behooves  me  to 
correct  a  mistake  in  your  printed  address  to  the  patrons  of  the  fine  arts.  I  am  not  a 
marshal  of  France,  nor  do  I  hold  any  office  under  that  government  or  any  other  what- 
ever." 

This  declaration  gives  authority  to  the  more  generally  accepted  idea  that  the  scarf 
was  a  badge  adopted  by  Washington  July  3,  1775,  when  he  took  command  at  Cambridge. 
He  was  unknown  to  the  troops ;  and  in  his  orderly  book  of  that  date  a  blue  sash  is 
mentioned  as  designating  the  commander-in-chief. 

In  1779,  while  Peale  was  a  representative  in  the  Legislature  of  Pennsylvania,  a  por- 
trait was  ordered  by  that  State,  an  account  of  which  is  found  in  "The  Pennsylvania 
Packet"  of  Feb.  11,  1779,  in  connection  with  the  announcement  of  the  general's  presence 
in  Philadelphia.    It.  read  as  follows:  — 

"  The  Council  of  this  State,  being  desirous  of  having  his  picture,  requested  his  sitting  for  that 
purpose,  which  he  politely  complied  with,  and  a  striking  likeness  was  taken  by  Mr.  Peale  of  this 
city.  The  portrait  is  to  be  placed  in  the  council-chamber.  Don  Juan  Marrailes  has  ordered  five 
copies,  of  which  four,  we  hear,  are  to  be  sent  abroad." 

This  painting  was  engraved  by  Peale ;  and  the  following  year,  in  the  same  paper, 
four  advertisements  of  the  print  appeared  at  different  dates,  as  follows :  — 

"The  subscriber  takes  this  method  of  informing  the  public  that  he  has  just  finished  a  metzotinto 
print,  in  poster  size  (14  inches  by  10  inches,  besides  the  margin),  of  his  Excellency  Gen.  Wash- 
ington, from  the  original  picture  belonging  to  the  State  of  Pennsylvania.  Shopkeepers,  and  persons 
going  to  the  West  Indies,  may  be  supplied  at  such  a  price  as  will  afford  a  considerable  profit  to 
them,  by  applying  at  the  south-west  corner  of  Lombard  and  Third  Streets,  Philadelphia. 

"CHARLES  WILLSON  PEALE." 

The  portrait  ordered  for  the  State  was  totally  destroyed  in  1781  by  some  vandals 
who  broke  into  the  council-chamber,  and  ruthlessly  defaced  it.  beyond  the  hope  of 
restoration.  Bailey's  "Freeman's  Journal,"  Sept.  12,  1781,  with  more  fervor  than  elegance, 
thus  records  the  outrage  :  — 

"Sept.  10.  —  Last  night,  a  fit  time  for  the  sons  of  Lucifer  to  perpetuate  the  deeds  of  darkness, 
one  or  more  volunteers  in  the  service  of  hell  broke  into  the  State-House  in  Philadelphia,  and  totally 
defaced  the  picture  of  his  Excellency,  General  Washington,  and  a  curious  engraving  of  the  monument 
of  the  patriotic  General  Montgomery,  done  in  France  in  the  most  elegant  manner.  Every  generous 
bosom  must  swell  with  indignation  at  such  atrocious  proceedings.  It  is  a  matter  of  grief  and  sorrow- 
ful reflection  that  any  of  the  human  race  can  be  so  abandoned  as  to  insult  men  who  are  and  have 
been  an  honor  to  human  nature ;  who  venture  and  have  ventured  their  lives  for  the  liberties  of  theii 


I  2 


Original  Portraits  of  Washington. 


fellow-men.  A  being  who  carries  such  malice  in  his  breast  must  be  miserable  beyond  conception. 
We  need  wish  him  no  other  punishment  than  his  own  feelings. 

"'The  motions  of  his  spirit  are  black  as  night, 
And  his  affection  dark  as  Erebus.'  " 

Of  those  ordered  by  Don  Juan,  one  was  sent  to  the  Spanish  court,  and  another  to 
the  island  of  Cuba.  Several  copies  of  the  same  picture  were  also  made  for  persons  in 
this  country. 

One  of  Peale's  most  highly  valued  works  is  in  Nassau  Hall,  Princeton  College,  New 
Jersey;  and  its  history  illustrates  the  generous  character  of  its  great  subject.  During  the 
battle  of  Princeton  a  ball  from  one  of  Washington's  cannon  pierced  the  college  building, 
doing  slight  harm  beyond  the  destruction  of  a  portrait  of  George  II.  When  the  catas- 
trophe was  reported,  Washington  gave  from  his  private  purse  fifty  guineas  to  repair  the 
injury.  This  sum  was  devoted  by  the  trustees  of  the  institution  to  securing  a  portrait  of 
the  general,  by  the  soldier-artist,  to  replace  that  of  the  King. 

The  figure  of  Washington  in  this  picture  is  represented  upon  the  field  of  Princeton, 
the  battle  still  in  progress.  In  his  left  hand,  resting  on  his  hip,  he  holds  his  chapean  : 
his  right,  partly  uplifted,  grasps  his  sword.  A  group  of  officers  immediately  back  of 
Washington  support  a  dying  general,  —  the  gallant  Hugh  Mercer,  a  "bra  Scot;"  and  in 
the  distance,  through  half-obscuring  smoke,  is  seen  Nassau  Hall.  When  the  building  was 
burned,  in  1802,  the  painting  was  rescued,  and  is  still  in  possession  of  the  college. 

The  State  of  Maryland  gave  an  order  for  a  portrait  of  Washington  commemorative 
of  the  surrender  of  Cornwallis,  to  be  placed  in  the  Hall  of  the  House  of  Delegates  at 
Annapolis.  This  picture  was  painted  soon  after  that  great  event,  and  is  conceded  to 
have  been  from  life.    In  "The  Annals  of  Annapolis"  it  is  thus  described:  — 

"  From  the  walls  of  this  room  (the  Hall  of  Delegates)  is  suspended  a  large  picture  presenting 
a  full-length  likeness  of  Gen.  Washington,  attended  by  Gen.  Lafayette  and  Col.  Tilghman,  his 
aides-de-camp,  the  continental  army  passing  in  review.  In  his  hands  he  holds  the  articles  of 
capitulation  at  Yorktown.  The  picture  was  painted  by  Charles  Willson  Peale  in  pursuance  of  a 
resolution  of  the  General  Assembly  of  Maryland." 

Immediately  following  this  commission  the  artist  executed  a  portrait  for  M.  Girard, 
the  French  ambassador,  and  a  full-length  for  the  Count  de  Rochambeau. 

Among  the  pictures  in  the  collection  of  the  late  Joseph  Harrison  of  Philadelphia  is 
a  bust-portrait,  executed  in  1783.  It  was  bought  by  Mr.  Harrison  from  the  Peale 
Gallery  for  fifty-five  dollars ;  and  Benson  J.  Lossing  says  it  is  the  last  painted  from  life 
by  that  artist.  This  opinion  is  opposed  by  several  statements  relative  to  later  works. 
The  entry  in  Washington's  diary,  while  he  was  attending  the  Constitutional  Convention, 
effectually  controverts  such  a  conclusion :  — 


Charles  Willson  Peale. 


13 


"  Tuesday  July  Jrd,  1/8/.  —  Sat  before  the  meeting  of  the  convention  for  Mr.  Peale,  who 
wanted  my  picture  to  make  a  print  or  metzotinto  by. 
"  Friday  6th.  —  Sat  for  Mr.  Peale  in  the  morning. 
"  Monday  gth.  —  Sat  for  Mr.  Peale  in  the  morning." 

This  valuable  pencil-sketch,  so  well  authenticated  by  Washington  as  being  from  life, 
was  purchased  from  Mrs.  Charles  Augustus  Smith  of  Philadelphia,  and  presented  to  the 
Historical  Society  of  Pennsylvania,  March  9,  1868,  by  Messrs.  Jay  Cooke  &  Co.,  E.  W. 
Clark  &  Co.,  George  W.  Childs,  W.  V.  McKean,  A.  E.  Borie,  C.  F.  Norton,  J.  G.  Fell, 
Charles  H.  Hutchinson,  Stephen  Colwell,  Charles  Magarge,  William  C.  Houston,  Isaac 
Lea,  James  Weightman,  Charles  M.  Morris,  John  A.  McAllister,  Atherton  Blight,  James 
L.  Claghorn,  Joseph  Carson,  M.D.,  George  B.  Wood,  Z.  Locke,  Thomas  C.  Hand,  Fred- 
erick Collins,  Charles  G.  Lower,  and  R.  Eddy.  This  drawing  was  retained  by  Peale,  and 
at  his  death  became  the  property  of  his  son  Rembrandt,  who  disposed  of  it  to  Mr.  Smith 
about  1848.  During  the  residence  of  the  owner  in  Cincinnati,  it  was  placed  in  a  loan 
exhibition,  and  noticed  in  "The  Daily  Enquirer,"  as  "an  original  pencil-sketch  of  Washing- 
ton by  Charles  Willson  Peale,  taken  in  1777,  the  frame  of  which  was  made  by  a  son  of 
Dr.  Croley  from  the  wood  of  the  old  elm-tree  which  stood  in  front  of  the  Chew  house 
at  Germantown." 

Senate  Document  No.  XXI.  of*  the  Virginia  Legislature  of  1873  asserts,  that  in 
1 784  Peale  received  an  order  for  a  full-length  from  Gov.  Harrison  of  Virginia,  for  that 
State,  which  was  sent  to  France  to  aid  Houdon  in  executing  the  statue  he  had  been 
commissioned  to  make.  But  the  sculptor  determined  to  see  Washington  in  person,  and 
take  a  cast  and  measurements :  he  therefore  came  to  America,  disregarding  the  painting, 
—  if  it  ever  reached  him.  Its  fate  is  shrouded  in  mystery,  and  is  still  a  matter  of 
interest.  Although  nowhere  is  it  positively  stated  that  this  portrait  was  drawn  from 
life,  yet  the  inference  is  clear  that  the  Legislature  intended  that  it  should  be ;  and  for 
such  an  important  purpose  nothing  less  would  have  been  acceptable.  The  official 
document  referred  to  says,  — 

"The  letters  of  Gov.  Harrison  to  Charles  Willson  Peale,  dated  1st  of  July,  1784,  and  Nov.  20, 
1784  (the  former  requesting  Mr.  Peale  to  draw  a  full-length  portrait  of  Gen.  Washington,  and 
ship  it  to  France  to  the  address  of  Mr.  Jefferson,  and  the  latter  thanking  Mr.  Peale  for  his 
prompt  compliance  with  the  request),  and  to  Mr.  Jefferson,  July  20  and  Nov.  12,  1784,  relative  to 
the  portrait  drawn  by  Peale,  —  are  not  only  unpublished,  but  seem  to  be  unknown  to  many, 
although  they  record  the  initial  steps  which  were  taken  to  procure  the  statue  of  Washington." 

This  document  also  declares,  in  reference  to  the  portrait,  that,  "wherever  it  may  be, 
it  is  the  property  of  Virginia ;  and,  as  it  was  executed  with  all  the  skill  of  this  eminent 
artist,  the  inquiry  is  natural,  'What  has  become  of  it?'" 


14  Original  Portraits  of  Washington. 

In  order  to  render  the  picture  distinctively  Virginian,  Peale  painted  a  background, 
which  he  thus  describes  in  a  letter  to  Gov.  Harrison  :  — 

"  Besides  the  view  of  York  and  Gloster,  as  mentioned  in  a  former  letter,  I  have  introduced  on 
a  near  ground  French  and  American  officers  with  their  colors  displayed,  and  between  them  the 
British  with  their  colors  cased.  These  figures  seem  to  tell  the  story  at  first  sight,  which  the  more 
distant  could  not." 

A  bust-portrait  in  uniform,  by  Charles  Willson  Peale,  is  in  the  State  Library  at 
Richmond,  Va.  It  was  the  property  of  Richard  Kennon,  a  revolutionary  officer,  and  a 
personal  friend  of  Washington. 

Peale  painted  several  bust-portraits  of  Washington  as  President,  in  black  velvet  coat, 
—  the  dress  which  seems  to  belong  to  him  in  this  office.  Of  these  we  have  but  meagre 
record,  and  they  are  little  known,  as  the  military  portraits  were  more  popular  for  engrav- 
ing. One  is  deposited  in  the  National  Museum,  Philadelphia,  and  is  the  property  of 
Mr.  Oswald  Tilghman  of  Maryland.  It  was  purchased  by  his  father,  Col.  Tench  Tilghman, 
in  1840,  from  the  Wilson  family  of  Somerset  County,  Maryland,  for  whom  it  was  painted. 

A  bust-portrait  in  'uniform  hung  at  Mount  Vernon  for  many  years.  It  was  not 
known  what  became  of  this  picture,  until  it  was  traced  through  a  photograph  which  was 
sent  from  Germany  to  Mr.  George  W.  Childs,  on  the  back  of  which  is  written, — 

To  G.  W.  Childs.  »  • 

The  original  of  this  was  presented  by  Lady  Washington  to  Mr.  Conrad  Van  der  Legen 
of  Crefeld.  Shortly  after  the  death  of  Washington,  Mr.  Van  der  Legen  requested  his  agent, 
Mr.  Honninghous,  who  was  then  in  Washington  City,  to  apply  to  Lady  Washington  to  have  a  copy 
taken  from  a  Washington  portrait.  Instead  of  replying  to  the  request,  Lady  Washington  ordered 
the  original  of  this  photograph  to  be  taken  clown  from  the  wall,  and  desired  Mr.  Honninghous  to 
present  it  in  her  name  to  Mr.  Van  der  Legen.  The  house  of  Van  der  Legen  did  a  very  extensive 
business  in  America  at  that  time,  and  was  well  known.  The  picture  is  now  in  possession  of 
Mr.  Henry  Van  der  Legen  of  Crefeld,  grandson  of  the  original  owner,  who  kindly  allowed  it  to  be 
photographed,  and  presented  me  with  some  copies  of  the  same. 

From  your  friend 

F.  COAN. 

Cologne,  Feb.  7,  1870. 

Mr.  Frederic  de  Peyster  of  New  York  owns  a  full-length  military  portrait,  cabinet  size, 
from  the  hand  of  Peale,  which  was  presented  by  John  Ouincy  Adams  to  Carlo  Giuseppe 
Guglielmo  Botta  of  Italy,  author  of  the  great  work  upon  the  Revolution,  entitled  "  A  His- 
tory of  the  War  of  American  Independence."  The  painting  is  an  interesting  souvenir,  and 
was  returned  to  this  country  a  short  time  since,  all  the  correspondence  establishing  its 
historic  association  being  in  possession  of  its  present  owner.  It  is  framed  in  a  narrow, 
fluted  gilt  frame  of  the  fashion  of  the  last  century;  and  the  canvas  is  oval,  being  about 


Charles  IV ills  on  Pcale. 


15 


two  feet  in  width  at  the  broadest  part.  The  figure  of  Washington  is  gracefully  drawn. 
He  is  standing  near  his  cream-colored  charger,  and  in  the  right  hand  he  holds  his 
chapeau.    The  cannon  and  scattered  balls  indicate  a  battle-ground,  supposed  to  be  Trenton. 

The  only  bust-portrait  of  Washington  of  cabinet  size,  from  the  hand  of  Charles 
Willson  Peale,  once  belonged  to  Captain  Williams  of  the  Topographical  Bureau,  who 
married  Miss  Peter,  a  great  "grand-daughter  of  Mrs.  Washington.  This  portrait  in  1832 
became  the  property  of  Judge  Thurston  of  Kentucky,  and  descended  to  his  daughter, 
the  late  Mrs.  Janette  Thurston  Powell.  It  is  very  brilliant  in  tone,  and  readily  identified 
as  a  work  of  Peale,  though  there  was  a  tradition  attributing  it  to  Gilbert  Stuart.  It  is 
now  in  the  possession  of  Admiral  L.  M.  Powell,  Washington.  The  late  Dr.  William  K. 
Gilbert  of  Philadelphia  owned  a  portrait  painted  by  Peale  in  1795.  It  hung  in  the  Mint 
for  nearly  half  a  century,  having  been  in  possession  of  one  of  the  officials.  It  is  per- 
fectly preserved,  vivid  in  color,  and  lifelike  in  expression. 

At  a  sitting  given  by  Washington  in  1795  to  Rembrandt,  son  of  the  "elder  Peale," 
the  latter  made  from  life  his  last  study  of  Washington.  His  brother  James  was  also 
permitted  to  be  present.  From  sketches  made  at  this  time,  James  produced  a  full-length, 
and  Rembrandt  painted  his  great  picture.  The  circumstance  of  the  President's  granting 
sittings  to  this  trio  of  artists  drew  forth  one  of  Stuart's  witty  sarcasms,  related  by  himself 
to  Mr.  Neagle:  — 

"I  looked  in  to  see  how  the  old  gentleman  was  getting  along,  and  to  my  astonishment  1 
found  the  general  surrounded  by  the  whole  family.  They  were  peeling  him,  sir.  As  I  went  away, 
I  met  Mrs.  Washington.  "Madam,"  said  I,  "the  general's  in  a  perilous  situation."  —  "How,  sir?" 
—  "He  is  beset,  madam,  —  no  less  than  five  on  him  at  once:  one  aims  at  his  eye,  another  at  his 
nose  ;  another  is  busy  with  his  hair ;  his  mouth  is  attacked  by  a  fourth  ;  and  the  fifth  has  him  by 
the  shoulder.  In  fact,  madam,  there  are  five  painters  at  him.  You  who  know  how  he  has  suffered 
when  only  attacked  by  one  can  judge  of  the  horrors  of  the  situation." 

Stuart  asserted  that  it  was  at  his  request  that  Gen.  Washington,  after  sitting  to  him, 
consented  to  sit  once  more  for  Mr.  Peale.  It  appears  incredible  that  an  old  comrade-in- 
arms, one  who  had  been  associated  with  Washington  in  peace  and  in  war,  should  have 
to  secure  a  favor  through  a  comparative  stranger ;  and  especially  is  this  improbable  in 
connection  with  the  fact  that  Washington  was  so  generous  of  time  to  the  artist's  son. 
The  picture  produced  from  this  joint  sitting  is  doubtless^  the  last  painted  from  life  by 
Charles  Willson  Peale,  and  became  the  property  of  the  late  Thomas  J.  Bryan,  who 
purchased  it  at  the  sale  of  the  Peale  Museum,  and  presented  it  to  the  New-York 
Historical  Society. 

There  is  in  the  diplomatic  reception-room  at  the  Department  of  State,  Washington, 
a  very  inferior  portrait  by  Charles  Willson  Peale.    In  the  Department  there  is  no  attaina- 


1 6  Original  Portraits  of  Washington. 

ble  record  of  it,  save  a  bill  for  cleaning  and  repairing  in  1840;  but  in  a  paper  by  Arthur 
R.  Stansbery,  entitled  "  Recollections  and  Anecdotes  of  the  Presidents  of  the  United 
States,"  which  appeared  in  "  Arthur's  Home  Gazette,"  is  found  a  lengthy  though  frag- 
mentary account  of  this  portrait.  John  Ouincy  Adams,  when  secretary  of  state,  pur- 
chased it,  for  the  sum  of  one  hundred  and  fifty  dollars,  from  a  gentleman  in  Washington. 
Poor  as  the  painting  is  now  considered,  enthusiastic  expressions  of  approval  are  quoted 
by  Stansbery  from  Thomas  Law,  William  W.  Seaton,  Samuel  Brent,  and  other  prominent 
citizens.  Peale  identified  it  as  having  been  executed  by  himself,  and  "  sold  in  Baltimore, 
to  the  father  of  the  owner's  wife,  a  score  of  years  ago,"  also  expressing  to  the  secretary 
the  gratification  he  would  feel  in  this  work  finding  secure  haven  as  a  government  pos- 
session. From  the  accumulated  evidence  of  the  excellence  of  this  painting,  the  conclu- 
sion is  inevitable  that  it  fell  a  victim  to  the  destroyer  designated  repairing. 

It  is  proper  to  record  here  three  portraits  which  legitimately  come  in  a  list  of  Peale's 
works  They  are  attributed  to  Charles  Peale  Polk,  a  young  Virginian  who  was  a  relative, 
namesake,  and  pupil  of  Peale's ;  and  it  is  said  that  Polk  painted  only  the  figures,  while 
his  master  painted  the  heads.  The  likeness  obtained  in  these  portraits  is  a  close  rendering 
of  the  Washington  head  according  to  the  Houdon  standard. 

One  is  especially  interesting  because  of  its  associations  and  the  historic  data  that  it 
perpetuates.  It  descended  from  Arthur  Lee  to  his  nephew,  Richard  Henry  Lee  ;  then  to 
his  daughter,  wife  of  Charles  Lee,  attorney-general  under  Washington  and  Adams ;  and 
is  now  owned  by  a  grand-daughter  of  the  latter,  Mrs.  Thomas  Miller,  Leesburg,  Va. 
It  has  never  been  out  of  the  Lee  family.  It  is  a  three-quarter  picture  in  Continental 
uniform,  with  three  stars  in  the  epaulets.  His  hand,  holding  a  chapeau,  rests  on  the  hilt 
of  his  sword.  In  the  background  on  one  side  are  Princeton  and  the  college  buildings  ; 
on  the  other,  sentinels  on  duty  at  the  camp,  over  which  floats  a  flag,  differing  only  in 
form  from  the  one  finally  adopted,  —  thirteen  stripes,  alternate  red  and  white;  and  the 
union,  thirteen  stars,  white  in  a  blue  field.  It  bears  the  name  "  Cs  P.  Polk,  painter,"  and 
was  painted  for  Arthur  Lee,  commissioner  to  France,  being  sent  to  him  while  abroad. 
Upon  the  back  is  this  inscription  :  "  This  portrait  will  stand  the  unavoidable  confinement 
to  London  better  than  the  other,"  indicating  that  two  portraits  in  this  style  were  painted. 
Of  the  other  is  found  no  record.  The  second  picture,  marked  "  Cs  Polk,"  is  a  kitcat,  which 
was  painted  for,  or  purchased  by,  a  gentleman  on  the  James  River,  Virginia,  and  is  now 
owned  by  the  Historical  Society  of  Pennsylvania.  The  third  is  a  likeness  of  considerable 
merit,  though  deficient  in  coloring.  It  belonged  to  the  Rev.  Dr.  Balmain,  who  was  a  chap- 
lain in  the  Virginia  line  of  the  Continental  army,  and,  after  the  Revolution,  rector  for  forty 
years  of  Frederick  Parish,  Va.  It  was  in  his  possession  for  fifty  years,  and  was  often  seen 
and  approved  by  Madison,  Marshall,  and  other  contemporaries  of  Washington.    It  descended 


Charles  Willson  Peak. 


17 


to  a  grand-nephew  of  the  first  owner,  Mr.  Edward  F.  Bruce  of  Winchester,  Va.,  from 
whom  it  was  recently  purchased  by  the  Corcoran  Gallery  of  Art. 

On  the  2 2d  of  February,  1800,  on  the  occasion  of  the  obsequies  of  Washington  in 
Philadelphia,  among  the  mourning  emblems  displayed,  "  the  transparency  by  Mr.  C.  W. 
Peale  in  front  of  his  museum,  representing  Gen.  Washington  of  life-size,  attracted  greatest 
attention,  and  drew  a  large  concourse  of  spectators." 

MINIATURES  BY  CHARLES  WILLSON  PEALE. 

During  his  stay  at  Mount  Vernon,  Peale  painted  several  miniatures  of  Washington, 
as  well  as  of  other  members  of  the  household.  An  entry  in  Washington's  account-book 
of  daily  personal  expenses,  now  in  the  Department  of  the  Interior,  is  as  follows  :  — 

"May  30th,  1772. 

By  Mr.  Peale  drawing  my  Pict.     .......       £\%  \s. 

"  Miniature  for  Mrs.  Washington   .       .       .  •  .       .       .  13 

"  Ditto        for  Miss  Custis   13 

"  Ditto        for  Mr.  Custis  13 

37-4- 

One  of  Washington's  miniatures  was  presented  by  him  to  his  brother  Charles,  and 
descended  to  his  daughter  Mildred.  From  her  it  fell  to  her  husband's  family,  by  whom  it 
was  taken  to  Ireland.  After  many  years  it  was  returned  to  this  country,  and  presented  to 
Washington's  grand-nephew,  Judge  Charles  Washington  Ball  of  Leesburg,  Va.,  in  whose 
possession  it  remains.  It  is  a  finely-executed  work,  and  excellently  preserved.  Another  of 
these,  ordered  for  the  family,  is  now  owned  by  W.  W.  Corcoran,  who  bought  it  from  a 
descendant  of  one  of  Washington's  nephews.  These  miniatures  are  handsomely  set  in 
heavy  plain  gold  lockets,  with  a  lock  of  Washington's  hair  in  the  back  of  each.  Mr.  Peale 
took  charge  of  the  setting  of  these  miniatures,  in  compliance  with  a  request  from  Mrs. 
Washington,  as  the  following  letters  will  show :  — 

New  Winpsor,  Dec.  26,  1780. 

Sir,  —  I  send  my  miniature  pictures  to  you  and  request  the  favor  of  you  to  get  them  set  for 
me.  I  would  have  them  as  bracelets  to  wear  round  the  wrists.  The  Pictures  already  set  I  beg  you 
to  have  cut  the  same  size  as  the  other  two,  and  set  alike,  as  I  may  make  a  pair  of  either  of  the 
three  pictures.  The  Diamonds  may  be  set  in  a  pin  for  the  hair.  I  would  have  the  three  pictures 
set  exactly  alike,  and  all  the  same  size.  If  you  have  no  crystals  yourself,  if  they  can  be  had  in 
the  city,  I  beg  you  to  get  them  for  me.  I  would  like  to  have  them  set  neat  and  plain,  and  will  be 
much  obliged  to  you  to  hurry  the  person  that  undertakes  the  doing  of  them,  as  I  am  very  anxious 
to  get  them  soon. 

I  am  Sir  your  most  ob£  h'ble  sv't 

MARTHA  WASHINGTON. 

In  the  box,  three  miniatures,  2  half  joes  and  small  pieces  of  gold. 


1 8  Original  Portraits  of  Washington. 

I'milad*  January  16,  17S1. 

Dr.  Madam,  —  The  Jeweller  promises  me  to  have  the  bracelets  done  in  a  few  days.  I  have 
begged  him  to  take  the  utmost  pains  to  set  them  neatly.  As  no  foreign  glasses  were  to  be  had, 
I  have  moulded  some  of  the  best  glass  I  could  find,  and  got  a  Lapidary  to  polish  them  ;  which,  I 
hope,  will  not  be  inferior  to  those  made  abroad.  I  have  cut  the  Pictures  to  one  size,  and  mean  to 
go  a  little  further  than  you  arc  pleased  to  direct  —  that  is  to  have  spare  loopholes  for  occasional 
use  as  a  Locket,  and  the  additional  expense  is  inconsiderable. 

Respectfully  yours, 

C.   W.  PEALE. 

Mrs.  Martha  Washington. 

Peale  painted  miniatures  of  both  Gen.  and  Mrs.  Washington  during  the  year  1776. 

There  is  now  in  Philadelphia  a  beautiful  miniature  on  ivory,  showing  the  blue  scarf, 
which  was  painted  on  the  march  from  Germantown  to  Valley  Forge. 

Rembrandt  Pcale  relates,  that,  while  his  father  was  painting  a  miniature  of  the  general 
for  Mrs.  Washington  in  New  Jersey,,  Washington  received  the  announcement  of  the  sur- 
render of  Burgoyne  ;  but  the  sitting  continued  without  interruption. 

Several  miniatures  were  painted  by  Peale  in  1779,  —  one  for  the  King  of  France,  and 
two  for  Lafayette.  One  of  the  latter  was  a  full-length  with  the  blue  scarf ;  and  one,  a 
bust  on  copper  plate.  This  was  presented  by  Lafayette  in  1823  to  a  niece,  who  many 
years  after  gave  it  to  a  friend  on  the  eve  of  her  departure  for  America.  It  is  now 
owned  by  a  lady  in  Washington. 

A  Peale  miniature,  belonging  to  the  wife  of  Rev.  William  F.  Brand,  Emmonton,  Md., 
was  painted  for  her  grandfather,  Col.  Nathaniel  Ramsay,  a  close  personal  friend  of 
Washington,  and  one  of  the  heroes  of  Monmouth.  This  portrait  has  been  attributed  to 
James  Peale ;  but  it  is  of  too  early  a  date  to  have  been  his  work,  though  Charles 
Willson  Peale  painted  few  miniatures  after  he  discovered  his  younger  brother's  talent  for 
this  branch  of  art,  generously  surrendering  his  own  orders  for  miniatures  to  his  brother. 
The  work  is  on  ivory,  and  of  the  same  style  and  pose  that  distinguish  Charles  Willson 
Pealc's  first  miniatures.  The  hair  is  in  a  queue ;  and  the  face  is  replete  with  grave 
thought,  though  more  youthful  than  even  the  Arlington  picture.  The  dress  is  military. 
Over  the  waistcoat  is  the  sash  of  blue  ;  and  the  epaulets  are  flat,  as  worn  in  the  earlier 
period  of  the  Revolution. 

Washington  ordered  of  an  unknown  artist,  probably  James  Peale,  a  miniature  of  Mrs. 
Washington  for  his  only  surviving  sister,  Mrs.  Fielding  Lewis  (Betty  Washington).  He 
sent  it  to  her  Aug.  17,  1789,  at  Fredericksburg,  Va.,  by  the  hands  of  a  neighbor,  Mr. 
Sheaffe.  In  the  same  case  was  a  smaller  miniature  of  himself,  painted  by  Peale  during 
the  siege  of  Boston.  It  is  in  military  costume,  with  the  blue  scarf  of  the  commander- 
in-chief.    Tradition  says  he  wore  this  upon  his  own  person  during  the  war  as  a  means 


diaries  Willson  Peak.  19 

of  identification  in  the  event  of  his  death  in  battle.  There  is  slight  evidence  that  he 
ever  anticipated  or  feared  so  tragic  an  end ;  and,  if  the  story  be  true,  the  precaution 
was  doubtless  suggested  by  his  wife. 

These  miniatures  arc  painted  on  ivory,  and  are  exquisitely  rich  in  color.  The  one 
of  the  general  is  cracked,  but  was  probably  in  that  condition  when  given  as  a  tender 
remembrance  to  his  sister,  so  soon  after  his  elevation  to  the  presidency  of  the  new  republic. 

A  lock  of  Washington's  hair,  loosely  laid  in,  surrounds  his  picture  ;  and  it  is,  perhaps, 
the  only  lock  in  existence  showing  the  natural  color,  which  is  quite  a  dark  brown, 
though  even  then  slightly  intermingled  with  gray.  Around  Mrs.  Washington's  miniature 
is  a  close,  broad  plait  of  "  nut-brown  hair,"  and  the  setting  is  of  plain  gold.  Mrs.  Wash- 
ington appears  much  older  than  her  husband.  She  was  a  few  years  his  senior ;  but  it 
must  be  remembered  that  this  picture  was  taken  fifteen  years  after  that  of  the  general. 
The  locket  containing  these  miniatures  descended  through  Mrs.  Eleanor  Carter  to  John 
Patteson  of  Richmond,  Va.,  who  sold  it  to  its  present  owner,  Mr.  William  Fearing  Gill 
of  Boston.    It  is  temporarily  deposited  in  the  National  Museum,  Philadelphia. 

Rembrandt  Peale,  in  "The  Crayon,"  1857,  says  that  another  miniature,  copied  from 
a  portrait,  was  sent  at  the  same  time  to  Washington's  sister-in-law.  This  probably  is  the 
one  referred  to  in  a  letter  written  by  the  artist  from  Philadelphia  to  Gen.  Washington:  — 

"The  miniature  which  you  wrote  for,  some  time  past,  I  have  now  finished.  It  is  copied  from 
the  portrait  which  you  did  me  the  honor  to  sit  for  when  last  here  ;  and  I  hope  the  likeness  will  be 
satisfactory  to  your  sister,  for  I  have  taken  much  pains  with  it." 

Charles  Willson  Peale  made  the  first  engraving  of  Washington  published  in  this 
country,  having  engraved  several  of  his  own  portraits.  A  few.  only  of  these  early  prints 
are  found,  and  are  highly  prized  by  collectors,  not  so  much  by  reason  of  merit,  as  for 
their  rarity. 

Mr.  W.  A.  Whitman  owned  a  panel-engraving  made  by  Peale,  which  is  inscribed  :  — 

"  His  Excellency,  G.  Washington,  Esq.  LL.D.  Late  Commander-in  Chief  of  the  Armies  of  the 
U.  S.  of  America  and  President  of  the  Convention  of  1787." 

This  was  doubtless  made  from  the  picture  for  which  Washington  gave  the  sittings 
noted  in  his  diary.  The  plate  has  been  reproduced  by  John  Sartain.  In  Independence 
Hall  is  a  similar  engraving,  which  is  labelled  :  — 

"Proof  engraving  of  Gen.  George  Washington,  by  C.  W.  Peale,  1787.  After  this  one  impres- 
sion, the  stone  was  broken.    This  remained  in  the  Peale  family." 

The  inscription  differs  slightly  from  the  other,  though  it  encircles  the  print  also,  and 
reads  :  — 

"  His  Excellency,  G°  Washington,  Esq.  Late  Commander-in  Chief  of  the  Armies  of  the  United 
States  of  America.    Painted  and  engraved  by  C.  W.  Peale  in  1787." 


20  Original  Portraits  of  Washington. 

In  justice  to  this  artist,  it  should  be  said  that  no  painter  who  has  left  a  life-portrait 
of  Washington  has  been  so  inefficiently  translated  by  engravers,  or  has  had  so  many 
liberties  taken  with  his  works. 

One  of  the  most  interesting  early  engravings,  known  as  the  "  black  cravat  picture," 
was  made  by  Sharp,  "  from  an  original."  It  appeared  as  a  frontispiece  to  a  rare  old 
book,  written  by  C.  H.  Wharton,  M.D.,  which  bears  the  following  labored  title :  — 

"A 

POETICAL  EPISTLE 

TO  HIS  EXCELLENCY 

GEORGE  WASHINGTON,  Esq. 

Commander  in  Chief  of  the  Armies  of  the  United  States  of  America 
FROM 

AN  INHABITANT  OF  THE  STATE  OF  MARYLAND 

TO  WHICH  IS  ANNEXED 

A    SHORT  SKETCH 
or 

GENERAL  WASHINGTON'S  LIFE  AND  CHARACTER. 


Annapolis.   Printed  1779. 
London.    Reprinted  for  C.  Dilly  1780. 

PRICE  HALF  A  CROWN. 

Sold  as  a  Subscription  look  for  the  relief  of  American  Prisoners  suffering 
in  the  Jails  of  England." 


Grotesque  woodcuts  of  Peale's  first  portraits  of  Washington  appeared  in  1778  in  two 
almanacs  issued  for  that  year,  one  of  which  was  called  "The  Weatherwise ;  "  the  other, 
"  Bickerstaff's  Almanac." 


NATHANIEL  FULLERTON. 


MASSACHUSETTS. 

N  enthusiastic  amateur  artist  of  this  name  painted  a  profile  cabinet  portrait 
of  Washington  from  a  sketch  made  while  witnessing  a  review  on  Boston 
Common  in  1776.    This  picture  was  highly  approved  for  its  spirit,  and  has 
been  engraved  by  J.  G.  Smith.     There  were  two  portraits  made  from  this 
drawing  by  the  young  artist. 

In  185 1  quite  an  interest  was  aroused  in  this  portrait;  and  a  pamphlet  written  by 
Charles  Fox  was  published,  with  certificates  of  citizens  of  Boston  who  had  seen  Washing- 
ton as  to  the  correctness  of  the  likeness.  It  is  undoubtedly  worthy  of  approval,  —  so  true, 
indeed,  that  some  critics  have  accredited  it  to  the  Quaker  artist,  Joseph  Wright.  They, 
however,  lose  sight  of  the  fact  that  Wright  was  not  in  America  until  several  years  after 
the  death  of  young  Fullerton.  Mr.  Fox  asserts  it  to  have  been  executed  by  Fullerton, 
and  said  he  had  it  engraved,  and  issued  the  monograph  "  to  rescue  from  oblivion  a  por- 
trait, which,  in  the  opinion  of  competent  judges,  is  a  remarkable  likeness  of  the  '  Father 
of  his  Country.'  " 

Fullerton  was  an  invalid  at  the  time  of  its  execution,  and  having  gone  to  the  West 
Indies  for  his  health,  died  there  at  an  early  age.  He  was  one  of  the  indignant  Boston 
boys  who  appealed  to  Gen.  Gage  to  protect  their  snow  forts  from  his  soldiery.  This  offi- 
cer gave  respectful  attention  to  their  grievance ;  and  though  somewhat  startled  by  the 
intrepid,  outspoken  patriotism  of  the  urchins  of  "  Boston  town,"  he  assured  them  that 
their  rights  should  be  respected.  The  scene  is  perpetuated  in  a  painting  by  Mr.  Henry 
Bacon,  exhibited  in  Memorial  Hall,  Philadelphia,  1876,  called  "The  Boston  Boys  and 
General  Gage,  1775." 


ALEXANDER  CAMPBELL. 


VIRGINIA. 

N  equestrian  portrait  of  Washington  is  claimed  to  have  been  painted  from 
life  at  a  very  early  date  by  Alexander  Campbell  of  Williamsburg,  Va.  As 
the  artist  was  unknown  to  Washington,  it  was  doubtless  painted  from  a 
sketch  made  when  the  ambitious  youth  had  seen  Washington  on  parade. 
No  importance  would  have  been  attached  to  such  a  caricature,  had  it  not  been  so  early 
and  so  widely  published.  It  was  reproduced  by  engraving  about  twenty  times,  and  sold 
extensively  by  speculators,  before  any  other  picture  of  Washington  had  become  popularly 
known.  It  is  a  lamentable  fact  that  some  of  these  engravers  did  their  work  well :  there- 
fore  the  distorted  effigy  is  likely  to  survive. 

A  mezzotint  of  this  portrait,  published  by  C.  Shepherd  in  London,  1775,  maybe  found 
in  the  collection  of  the  Historical  Society  of  Pennsylvania  by  those  interested  in  seeing 
the  most  grotesque  rendering  of  the  features  and  form  of  the  illustrious  Washington. 

It  was  one  of  these  prints  that  was  presented  to  Mrs.  Washington  by  the  brilliant 
and  gifted  Joseph  Reed,  for  which  Washington  jocosely  returned  thanks  in  the  following 
letter  from  Cambridge,  1776:  — 

"  Mrs.  Washington  desires  I  will  thank  you  for  the  picture  sent  her.  Mr.  Campbell,  whom  I 
never  saw  to  my  knowledge,  has  made  a  very  formidable  figure  of  the  Commander-in-chief,  giving 
him  a  sufficient  portion  of  terror  in  his  countenance." 

A  grotesque  woodcut  which  appeared  on  a  "broadside"  as  an  illustration  to  the 
following  verses  might  have  been  made  after  the  head  of  Campbell's  portrait. 

SAW  YE   MY   HERO  GEORGE: 

Lady  Washington  left  Mount  Vernon  in  June,  1778,  in  expectation  of  meeting  her  worthy  companion  George;  on 
the  28th  of  the  same  month,  found  her  favourite  engaged  in  the  battle  of  Monmouth:  She  made  the  following  observa- 
tions. 

Saw  you  my  Hero  —  faw  you  my  Hero, 

Saw  you  my  Hero  George? 
I've  travel'd  o'er  the  plain,  and  enquir'd  of  ev'ry  fwain, 

But  no  tidings  could  gain  of  my  George. 


Alexander  Campbell. 

See  Page  22. 


Archibald  Robertson. 

See  Page  60. 


A  lex  a  nder  Ca  mftbelL 


23 


One  quickly  anfwer'd  —  I  faw  not  your  Hero, 

I  faw  not  your  Hero  George ; 
But  I'm  told  he's  in  the  van,  where  the  battle's  juft  began, 

I  muft  haften  my  men  to  the  charge. 

Another  replied  —  I  faw  your  Hero, 

I  faw  your  Hero  George  ; 
I  faw  him  on  the  plain,  with  his  fword  drawn  in  his  hand, 

Protecting  his  men  in  the  charge. 

O'er  hills  and 'high  mountains,  o'er  rivers  and  fountains, 

Where  the  drums  and  trumpets  founds  alarms, 
Heav'n  give  the  angels  charge,  to  protect  my  Hero  George, 

And  return  him  fafe  back  to  my  arms  ! 

Hark  !  the  hoarfe  thunder  !  fhakes  the  earth's  centre, 

The  groans  and  the  clafhing  of  arms ; 
Kind  Heav'n  prove  a  friend,  and  my  Hero  George  defend, 

Shield,  protect,  fecure  him  from  harms  ! 

Balls,  bombs  and  Iangrage  —  groans,  death  and  carnage, 

The  hills  and  the  caverns  refound  : 
The  fields  are  cover'd  o'er  with  firearms  of  purple  gore, 

And  the  dead  lie  in  heaps  on  the  ground  ! 

But  now  the  loud  huzzas  shout  my  Hero's  praifes, 

Victorious  George  they  proclaim  ! 
Columbia  now  prepare  ye,  my  love's  triumphal  car, 

And  let  fame  fhout  my  conqueror's  name. 

Hail  mighty  Hero  !  —  Columbia's  Hero, 

Who  gave  to  America  peace ; 
Long  may  he  live  renown'd,  and  with  brilliant  honors  crown'd, 

Till  complete  in  the  manfions  of  bliss. 

A  copy  of  this  broadside  is  on  exhibition  at  the  "  Old  South  Church,"  Boston. 


PIERRE  EUGENE  DU  SIMITIERE. 


SWITZERLAND. 


*7- 


-1784. 


HIS  gentleman,  who  was  a  native  of  Geneva,  Switzerland,  was  a  dilettante, 
delighting  in  art  and  nature  alike.  His  cabinet  of  natural  history,  the 
American  Museum,  was  one  of  the  greatest  delights  of  Philadelphia  an 
hundred  years  ago.  He  was  a  man  of  social  position,  graceful  culture,  and 
undoubted  integrity,  and  was  one  of  the  first  officers  of  the  American  Philosophical 
Society..  His  death  in  Philadelphia  in  1784  was  esteemed  a  severe  loss  to  the  city. 
He  painted  one  or  more  profile  military  portraits  of  Washington;  but  the  only  one  known 
to  exist  is  now  owned  by  Mr.  J.  P.  McKean  of  Washington,  D.C.,  whose  wife  inherited 
it  from  her  father,  who  purchased  it  with  an  artist's  effects  in  Alexandria,  Ya.,  soon  after 
the  death  of  Washington.  G.  W.  P.  Custis  considered  it  a  good  likeness,  but  did  not 
know  to  whom  to  attribute  it ;  although  he  was  convinced  that  it  was  an  original,  and 
testified  to  his  recollection  of  the  fact  that  at  one  time  it  hung  at  Mount  Vernon. 

There  is  no  evidence  that  this  painting  was  drawn  from  life,  save  the  assertion  on 
the  engravings  by  Prevost  and  Reading,  which,  if  untrue,  would  doubtless  have  been 
contradicted  by  a  man  of  honor  such  as  Du  Simitiere.  Only  through  these  two  engrav- 
ings is  it  yet  possible  to  identify  the  authorship  of  the  portrait  owned  by  Mr.  McKean. 
When  exhibited  at  the  Centennial,  it  was  ascribed  to  Wertmuller ;  but  this  mistake  arose 
from  the  fact  that  it  was  by  a  foreign  artist.  The  age  at  which  it  was  taken,  its  drawing, 
and  traits  of  coloring,  in  no  way  resemble  those  of  the  Swedish  artist ;  and  these  facts, 
if  there  were  no  other  evidence,  would  disprove  the  claim.  Mr.  McKean  has  published  a 
full-size  colored  lithograph  of  his  portrait. 

It  is  said  that  Du  Simitiere  made  several  miniatures  ;  but  of  these  no  trace  has  been 
discovered. 

In  a  "Diary  of  a  French  Officer,  1781,"  published  in  "The  Magazine  of  American 
History,"  May,  1880,  appears  this  notice  of  a  visit  to  Du  Simitiere's  museum:  — 

"  I  went  to  see  a  cabinet  of  natural  history  belonging  to  a  private  gentleman  named  M.  Simi- 
tiere.    He  is  a  Genevan,  and   has  amused  himself  for  a  long  time   in   collecting  a  number  of 


Pierre  Eugene  Du  Simitiere.  25 

curiosities  in  minerals,  shells,  birds,  and  every  thing  of  this  kind.  He  has  in  his  house  the 
clothing  of  different  savage  nations,  arms,  etc.,  which  he  had  collected  in  his  travels.  I  saw  among 
these  interesting  objects  a  bad  pair  of  heavy  boots,  and  I  asked  him  laughingly  if  they  were  objects 
of  curiosity.  He  assured  me  that  they  attracted  the  attention  of  all  Americans,  who  had  never 
seen  but  this  single  pair,  and  that,  in  consequence  of  the  surprise  they  had  excited,  he  had 
ventured  to  pass  them  off  for  the  boots  of  Charles  XII.  He  showed  me  also  a  very  fine  collection 
of  engravings,  and  even  pictures  of  his  painting,  but  poor.  He  it  is  who  has  taken  the  portraits 
of  the  different  members  of  Congress,  which  are  now  engraved  at  Paris." 

Portions  of  this  historical  collection  of  manuscripts  and  broadsides,  twelve  volumes 
of  valuable  matter,  are  now  owned  by  the  Philadelphia  Library  Company.  He  made 
drawings,  for  the  purpose  of  publishing  in  sets  the  heads  of  distinguished  men  then 
assembled  in  that  city.  In  two  of  these  groups  is  found  a  head  of  W  ashington.  None 
of  these  originals,  probably  crude  efforts,  are  known  to  have  been  preserved.  The  prints 
were  issued  in  London  in  1783. 

Du  Simitiere  was  possessed  of  some  inventive  talent,  as  seen  by  a  curious  drawing 
of  a  "New  Electrical  Machine,"  which  appeared  in  1779  in  "The  United  States  Magazine." 
In  1776  he  was  selected  to  prepare  designs  for  a  national  seal  and  for  a  medal  commemo- 
rative of  the  Declaration  of  Independence.  John  Adams,  chairman  of  the  committee 
having  the  matter  in  charge,  wrote  to  his  wife,  Aug.  14  of  that  year:  — 

"There  is  a  gentleman  here  of  French  extraction,  whose  name  is  Du  Simitiere,  a  painter  by 
profession,  whose  designs  are  very  ingenious,  and  his  drawings  well  executed.  For  the  medal,  he 
proposes  Liberty,  with  her  spear  and  pilcus,  leaning  on  Gen.  Washington ; 1  the  British  fleet  in 
Boston  harbor  with  all  their  sterns  towards  the  town ;  the  American  troops  marching  in.  For  the 
seal,  he  proposes  the  arms  of  the  several  nations  from  whence  America  has  been  peopled,  as  Eng- 
lish, Irish,  Dutch,  German,  etc.,  each  in  a  shield.  On  one  side  of  them,  Liberty  with  her  pileus  ; 
on  the  other,  a  rifler  in  his  uniform,  with  his  rifle  gun  in  one  hand,  and  his  tomahawk  in  the  other. 
This  M.  Du  Simitiere  is  a  very  curious  man.  He  has  begun  a  collection  of  materials  for  a  history 
of  this  Revolution.  He  begins  with  the  first  advises  of  the  tea  ships.  He  cuts  out  of  the  news- 
papers every  scrap  of  intelligence,  and  every  piece  of  speculation,  and  pastes  it  upon  clean  paper, 
arranging  them  under  the  head  of  that  State  to  which  they  belong,  and  intends  to  bind  them  up  in 
volumes.  He  has  a  list  of  every  speculation  and  pamphlet  concerning  independence,  and  another 
concerning  forms  of  government." 

The  series  of  thirteen  notables  drawn  by  him  were  engraved  by  B.  Reading,  and 
published,  May,  1783,  in  a  quarto  volume  (now  rare),  by  William   Richardson,  London. 

»  Happily  the  committee's  report  was  not  acted  upon.  "The  United  States  Diplomatic  Medal"  was  in  1791  pro- 
duced by  Dupre  in  Paris  through  the  order  of  Jefferson,  secretary  of  state,  and  under  superintendence  of  Dr.  Franklin. 
The  beauty,  use,  and  significance  of  this  medal,  appear  to  be  ignored,  though  Director  Linderman  had  it  reproduced 
in  1876. 


26 


Original  Portraits  of  Washington. 


These  were  the  heads  of  Washington,  Steuben,  Silas  Deane,  Joseph  Reed,  Gouverneur 
Morris,  Gen.  Gates,  John  Jay,  William  H.  Drayton,  Henry  Laurens,  Charles  Thomson, 
Samuel  Huntingdon,  John  Dickinson,  and  Benedict  Arnold. 

Du  Simitiere  did  not,  as  foreign  artists  generally,  enthusiastically  espouse  the  Ameri- 
can cause.  "He  was  only  2.  man  of  letters;"  and,  being  drafted  in  1777,  he  refused  to 
fight,  upon  the  plea  of  non-residence,  and  was  heavily  fined.  His  prayer  before  the 
"  Supreme  Executive  Council,"  for  remission  of  fine,  is  an  amusing  clause  in  the  Penn- 
sylvania archives.  In  "The  Pennsylvania  Packet"  of  the  winter  of  1783  the  following 
card  appears :  — 


The  Gentlemen  &  Ladies  ftrangers  to  this  city  and  their  friends  who  are  defirous  to  fee 
the  Curiofities  it  contains  are  requefted  to  take  notice ;  that  to  make  it  more  convenient  to  them, 
the  fubfcribers  Collection  of  Natural  and  Artificial  Curiosities  Paintings  &c  may  be  viewed  every 
day  [Sunday  excepted]  between  the  hours  of  11  and  12  in  the  forenoon  and  3  and  4  in  the  after- 
noon, during  the  winter  season  allowing  one  hour  for  each  Company.  Tickets  to  be  had  at  the 
fubfcribers  house  in  Arch  Street  at  the  fourth  door  below  Fourth,  set  at  half  a  Dollar  each  for  a 
Company  and  One  Dollar  for  a  fingle  perfon. 


AMERICAN  MUSEUM. 


P.  E.  DU  SIMITIERE. 


MISS  DE  HART. 


NEW  JERSEY. 

ISS  DE  HART  of  Elizabeth,  N.J.,  cut  a  good  bust  silhouette  of  Washington 
in  .  uniform,  when  visiting  Mount  Vernon,  in  1786,  which  was  presented  by 
Mrs.  Washington  to  Mrs.  Duer,  wife  of  the  president  of  Columbia  College. 
In  Washington's  diary  this  young  lady's  visit  is  noted :  — 

"Thursday  26th  I/S6. — About  sundown,  Mr.  Mayo  &  his  wife  &  Miss  D'Hart  in  a  Post- 
Chaise  &  4  came  in. 

Saturday  28th.  —  Mr.  Mayo,  his  wife,  and  Miss  D'Hart  went  away  after  breakfast." 

An  engraving,  probably  after  Miss  De  Hart's  picture,  of  that  style  of  portraiture  so 
acceptable  to  our  ancestors,  was  made  in  1796,  for  a  volume  entitled  "An  Excursion  to 
the  United  States  of  North  America  in  the  Summer  of  i'794.  By  Henry  Wansey,  F.A.S. 
Salisbury,  1 796." 


LABATUT. 


MONG  the  contributions  to  the  Loan  Exhibition  in  aid  of  the  Society  of 
Decorative  Art  of  New-York  City,  1878,  was  a  cabinet  miniature  on  ivory, 
made  in  1782  by  the  French  artist  Labatut.  This  portrait,  which  remains  in 
its  original  leather  frame,  about  six  inches  wide  and  seven  long,  was  painted 
by  Washington's  order,  and  presented  by  him  to  his  friend  Charles  Cotesworth  Pinckney 
of  South  Carolina.  It  remained  in  his  possession  until  his  death,  when  it  was  purchased 
by  Mr.  Watson  of  Charleston,  and  is  now  owned  by  his  grand-daughter,  Miss  E.  F. 
Watson  of  New- York  City. 


ROBERT  FULTON 
1765-1815. 

r  is  claimed  that  Fulton  painted  a  portrait  of  Washington  in  1782;  but  no 
facts  are  found  to  support  such  an  assertion,  and  no  portrait  has  been  dis- 
covered.   We  conclude  that  the  drawings  he  made  of  several  patriotic  events 
in  which  Washington  was  more  than  once  introduced  may  have  been  the 
basis  for  such  a  statement. 


JACQUES  LUC  BARBIERE-WALBONNE. 


FRANCE. 
1769-18 — . 

N  the  early  days  of  the  French  Revolution  Louis  XVI.  sent  his  celebrated 
miniature-painter,  Barbiere,  to  America,  to  secure  a  portrait  of  Washington, 
and  to  present  him  with  the  badge  of  the  order  of  Saint-Esprit.    This  painter 
was  a  pupil  of  David,  and  famous  for  his  military  portraits. 
Beside  the  miniature  ordered  by  the  monarch,  the  artist  executed  one  for  himself, 
which  was  sold  with  his  effects  after  his  return  to  France,  and  was  bought  by  C.  Duhamel 
of  New  Orleans.    Tuckerman  says,  — 

"It  is  large  and  unsymmetrical,  like  Wright's;  yet  it  has  much  grace  of  attitude,  and  is  striking 
from  its  reflection  of  the  illustrious  subject  in  his  prime,  and  with  characteristic  benevolence  and 
repose  of  expression." 


WILLIAM  DUNLAP. 


NEW  JERSEY. 
1766-1839. 

ILLIAM  DUNLAP  was  a  native  of  New  Jersey;  and,  though  he  never  won 
renown  as  an  artist,  he  has  strong  claims  upon  our  gratitude  as  one  of  the 
earliest  and  most  active  promoters  of  the  arts  in  this  country.  He  was  one 
of  the  first  to  awaken  an  interest  in  the  National  Academy  of  Design,  of 
which  he  was  vice-president.  He  is  known  as  an  author  through  his  "  History  of  the 
American  Theatre,"  and  other  works.  For  almost  every  thing  we  know  of  the  feeble  first 
century  of  art  in  America  we  are  indebted  to  the  zeal  and  unflagging  industry  of  Dunlap. 
In  that  valuable  and  now  rare  book,  "  History  of  the  Rise  and  Progress  of  the  Arts  of 
Design  in  the  United  States,"  he  has  bequeathed  to  us  biographical  sketches  of  each 
American  painter,  sculptor,  and  architect,  with  notices  of  their  chief  works,  from  Smibert 
to  Flagg.    His  style  is  easy,  and  his  writings  are  considered  impartial  and  trustworthy. 

In  submitting  his  portrait  of  Washington,  it  is  only  fair  to  say  that  he  should  not  be 
judged  by  such  a  work;  as  when  it  was  executed  he  had  never  taken  a  lesson,  though 
he  afterwards  studied  with  Benjamin  West.  He  made  pastel  portraits  of  both  Gen.  and 
Mrs.  Washington  at  headquarters,  Rocky  Hill,  N.J.,  in  the  autumn  of  1783.  The  favor 
of  sittings  was  granted  to  the  boy-artist  at  the  solicitation  of  Mr.  Van  Home,  at  whose 
house  Washington  and  his  wife  often  visited,  and  to  whom  the  youthful  artist  gave  his 
crude  efforts,  taking  copies  for  himself.  They  were  little  valued,  even  by  the  artist  him- 
self; and  a  reproduction  of  the  Washington  portrait,  recently  published  by  Elias  Dexter, 
lias  made  this  caricature  familiar  to  collectors.  We  have  been  unable  to  gather  any  facts 
concerning  the  original  picture,  save  that,  when  engraved  in  1868  by  Robin,  it  was  owned 
by  Dr.  Samuel  C.  Lewis  of  New  York. 

Dunlap's  pen  was  more  expressive  than  his  brush;  and  we  introduce  an  enthusiastic 
pen-sketch  as  compensation  for  his  pencil-record  of  "  the  hero."    He  says,  — 

"  Before  I  left  Princeton  for  Rocky  Hill,  I  saw  for  the  first  time  the  man  of  whom  all  men 
spoke,  whom  all  wished   to  see.     It  was  accidental.    It  was  a  picture.     No  painter  could  have 

3° 


William  Dunlap. 


3i 


grouped  a  company  of  military  horsemen  better,  or  selected  a  background  better  suited  for  effect. 
As  I  walked  on  the  road  leading  from  Princeton  to  Trenton  alone  (for  I  ever  loved  solitary  rambles), 
ascending  a  hill  suddenly  appeared  a  brilliant  troop  of  cavaliers,  mounting  and  gaining  the  summit 
in  my  front.  The  clear  autumnal  sky  behind  them  equally  relieved  the  dark-blue  uniforms,  the  buff 
facings,  and  glittering  military  appendages.  All  were  gallantly  mounted,  all  were  tall  and  graceful ; 
but  one  towered  above  the  rest,  and  I  doubted  not  an  instant  that  I  saw  the  beloved  hero.  I 
lifted  my  hat  as  I  saw  that  his  eye  was  turned  to  me  ;  and  instantly  every  hat  was  raised,  and  every 
eye  fixed  on  me.  They  passed  on,  and  I  turned  and  gazed  as  at  a  passing  vision.  I  had  seen  him. 
Although  all  my  life  used  to  the  'pride,  pomp,  and  circumstance  of  glorious  war,'  —  to  the  gay 
and  gallant  Englishman,  the  tartan'd  Scot,  and  the  embroidered  German  of  every  military  grade, — 
I  still  think  the  old  blue-and-buff  of  Washington  and  his  aides,  their  cocked  hats  worn  sidelong, 
with  the  Union  cockade,  their  whole  equipment  as  seen  at  that  moment,  was  the  most  martial  of 
any  thing  I  ever  saw." 


JOSEPH  WRIGHT. 


NEW  JERSEY. 
1756-1793. 

OSEPH  WRIGHT,  a  native  of  Borden  town,  N.J.,  made  several  portraits  in 
oil  of  Gen.  Washington  ;  also  a  crayon  profile,  and  a  small  etching,  which 
are  known  to  be  from  life.    Perhaps  no  artist  is  less  known  or  more  to  be 
trusted  than  he ;  for  he   not   only  had  European  advantages,  but  inherited 
from  his  mother  her  talents  and  her  Quaker  fearlessness  of  expression. 

He  was  the  son  of  Joseph  and  Patience  Lovell  Wright,  patriotic  Quakers;  Mrs.  Wright 
being  especially  distinguished  for  her  courage  in  the  cause  of  American  independence. 
She  went  to  England  after  the  death  of  her  husband,  taking  her  three  children.  Her 
daughter  became  the  wife  of  John  Hoppner,  the  fine  colorist  and  popular  portrait-painter  ; 
and  from  him,  as  well  as  from  Benjamin  West,  Joseph  received  instruction.  Through  his 
mother,  who  had  won  the  confidence  of  the  royal  family,  the  young  artist  gained  permis- 
sion to  paint  a  portrait  of  George  IV.,  then  Prince  of  Wales,  which  naturally  brought 
him  into  prominence.  His  associations  were  mostly  with  Friends,  who  were  proverbially 
republican;  and,  when -he  returned  to  the  United  States  by  way  of  Paris,  he  was  provided 
by  Benjamin  Franklin  with  a  letter  of  introduction  to  Gen.  Washington.  This  he  pre- 
sented at  headquarters,  Rocky  Hill,  near  Princeton,  where  he  was  accorded  sittings  by 
both  Gen.  and  Mrs.  Washington.  Under  these  favorable  circumstances  it  is  believed  he 
painted  the  cabinet  portrait  owned  by  Francis  Hopkinson,  which  has  descended  to  his 
great  grand- daughter,  Mrs.  Annie  Hopkinson  Foggo  of  Philadelphia. 

Wright  certainly  did  not  flatter  his  distinguished  subject;  and,  though  he  doubtless 
tried  earnestly  to  make  a  faithful  rendering,  he  was  such  an  exceedingly  nervous  and 
modest  man,  that  he  did  not  become  sufficiently  at  ease  with  Washington  to  do  him 
justice.  His  later  efforts  are  happier  ;  but  this  is  stiff,  awkward,  and  has  no  claim  to  artistic 
merit,  though  so  plain  and  unpretending  that  it  impresses  the  beholder  with  its  truth.  The 
dress  is  military,  and  the  hair  is  cut  short,  different  from  the  usual  style  of  wearing  it. 
It  is  painted  on  a  mahogany  panel ;  is  in  excellent  condition  ;  and,  though  it  has  not  the 
signature  of  the  artist,  it  is  well  authenticated,  having  never  been  out  of  the  Hopkinson 

32 


jfosepli  Wright. 


33 


family.  The  best  oil  portrait  of  Washington  by  Wright  was  painted  for  the  brilliant  Mrs. 
Powell  of  Philadelphia.  This  lady,  nee  Elizabeth  Willing,  was  one  of  the  most  attractive 
of  the  republican  court,  and  on  intimate  terms  with  the  President's  family.  When  Wash- 
ington retired  from  the  presidency,  she  purchased  his  French  writing-desk  (now  in  pos- 
session of  the  Historical  Society  of  Pennsylvania)  and  his  handsome  carriage-horses,  about 
which  he  wrote  her  with  all  the  pride  he  felt  in  a  good  horse.  In  a  note  from  Col.  Lear, 
accompanying  the  writing-desk,  it  will  be  seen  that  she  was  the  recipient  of  a  souvenir 
from  Gen.  Washington  :  — 

"  Mrs.  Powell  will  also  receive  a  pair  of  oval  mirrors,  brackets,  and  lamps,  which  the  general 
begs  she  will  accept  as  a  token  of  his  respectful  and  affectionate  remembrance. 
"Thursday,  March  9,  1797." 

The  Washington  portrait  descended  to  John  Hare  Powell  of  Newport,  R.I.,  and  is 
still  retained  in  the  family.  It  is  life-size,  three-quarter  length,  military  dress,  with  the 
hand  resting  upon  a  sword.  It  bears  the  inscription,  "J.  Wright,  1784.  Philadelphia.'" 
The  best  description  of  this  picture  is  given  by  Tuckerman,  who  says, — 

"There  is  something  at  once  inelegant  and  truthful  in  the  impression  it  conveys:  no  attempt 
is  visible  to  modify  the  somewhat  unsymmetrical  torso,  or  to  give  artificial  ease  to  the  attitude.  It 
strikes  the  beholder  as  a  most  honest  but  wholly  unembellished  portrait,  —  one  of  those  bold,  faithful 
imitations  of  nature  whose  very  lack  of  ideal  finish  yields  prima  facie  proof  of  authenticity.  The 
attitude  is  erect,  the  lips  closed  with  determination,  the  eye  clear  and  unfaltering,  the  hair  shorter 
than  in  any  other  portrait,  and  the  nose  so  distinctly  outlined  and  decided  in  its  form  as  to  claim 
special  notice.  Perhaps  no  portrait  of  Washington  bears  such  marks  of  genuine  individuality  without 
a  particle  of  artistic  flattery.  There  is  something  honest  in  the  mere  look  of  the  right  hand :  reso- 
lution and  great  calmness  are  the  predominant  traits.  The  fastidious  spectator  might  call  it  a  daub, 
while  the  discriminating  would  feel  it  must  be  a  likeness.  Such,  it  appears,  was  the  general  verdict 
of  Washington's  contemporaries,  many  of  the  most  distinguished  of  whom  were  constant  visitors  of 
Mrs.  Powell,  in  whose  drawing-room  this  highly-valued  picture  of  their  revered  friend  occupied  a 
conspicuous  place.  Bushrod  Washington,  in  particular,  always  spoke  of  it  as  the  most  literal  similitude 
of  his  great  kinsman." 

Tuckerman  quotes  Crawford  the  sculptor  as  having  maintained  that  Wright's  was  the 
only  portrait  of  Washington  which  "  literally  represented  his  costume."  We  cannot  agree 
with  him,  because  both  Peale  and  Trumbull  were  very  exact  in  this  particular.  Crawford 
says,  having  critically  examined  the  uniform  preparatory  to  his  own  great  work,  he  identified 
in  the  picture  the  strands  of  the  epaulet,  the  number  of  buttons,  and  the  peculiar  seals 
and  watch-key.  He  asserted  that  "  a  man  so  faithful  to  details,  so  devoted  to  authen- 
ticity, was  reliable  in  more  essential  things  ;  "  and  that  by  this  portrait  he  justified  himself 


34  Original  Portraits  of  Washington. 

in  the  departures  from  Stuart  and  from  Houdon's  Richmond  statue  which  he  had  made  in 
his  own  equestrian  statue  at  Richmond. 

An  original  portrait  of  Washington,  taken  in  Philadelphia  in  1784  by  Wright,  was 
presented  to  the  Massachusetts  Historical  Society  by  Israel  Thorndike.  It  is  thus 
described  :  — 

"It  is  a  half-length  portrait  in  military  dress, — blue  coat  and  brass  buttons,  coat  lined  with 
buff,  buff  waistcoat,  white  neck-cloth,  ruffled  shirt-bosom  and  lace  cuffs,  powdered  hair,  and  epau- 
lettes. The  hilt  of  the  sword  is  just  seen,  as  grasped  by  the  left  hand.  The  portrait  does  not  repre- 
sent a  handsome  man." 

In  the  same  year  he  painted  a  portrait  for  presentation  by  Washington  to  the  Count 
de  Solms.    The  order  from  Washington  to  Wright  is  found  in  this  letter :  — 

Mount  Vernon  10th  Jan.'i7S4. 
Sir, — When  you  have  finished  my  portrait  which  is  intended  for  the  Count  de  Solms,  I  will 
thank  you  for  handing  it  to  Mr.  Robert  Morris,  who  will  forward  it  to  the  Count  de  Bruhl  (Minister 
from  his  Electoral  Highness  of  Saxe  at  the  Court  of  London),  as  the  channel  pointed  out  for  the 
conveyance  of  it.  As  the  Count  de  Solms  proposes  to  honour  it  with  a  place  in  his  collection  of 
military  characters,  I  am  persuaded  you  will  not  be  deficient  in  point  of  execution.  Be  so  good  as 
to  forward  the  cost  of  it  to  me,  and  I  will  remit  the  money.  Let  it  (after  Mr.  Morris  has  seen  it) 
be  carefully  packed  to  prevent  injury. 

The  payment  of  the  artist  is  found  noted  in  Washington's  cash-book,  May  15,  1784:  — 

"By  Cash,  paid  Mr.  Wright  for  draws  my  picture  for  the  O  de  Solms.  40  Drs  &  half  a  John 
£18.  o.  o." 

This  veteran  Saxon  soldier,  commandant  of  the  fortress  of  Konigstein,  solicited  it  in 
the  language  of  an  enthusiast,  as  shown  by  this  original  letter :  — 

Konigstein  le  9  Juil.  1783. 

General,  —  Le  plus  Grand  des  Guerriers  merite  du  moins,  de  primer  parmis  ceux,  qui  ont 
acquis  a  juste  Titre  la  plus  haute  Reputation  dans  le  metier  des  armes,  avant  qu'il  aje  paru  sur  le 
Theatre  de  Mars.  J'ai  la  collection  tres  bornee  des  Portraits  de  ce  grands  Hommes :  le  Prince 
Eugene,  Maurice  de  Saxe,  Frederic  le  Grand,  son  Frerc  Henri,  Luidhon.  J'ai  servi  avec  tous  ;  sous 
les  Ordrcs  du  Troisieme,  j'ai  commande  une  Armee  ;  Vieillard  plus  que  Septuagenaire  j'attendrais  ici 
avec  Indifference  la  fin  commune  a  tous  les  Hommes,  si  Washington  nc  me  faisait  pas  regretter  la 
vigueur  de  l'age  des  travaux  ;  Oui,  Excellent  Mortel,  je  viendrais  des  Bords  de  l'Elbe,  vous  rendre 
mon  hommage,  vous  admirer  de  pres  ;  mais  puisque  le  Destin  en  a  decide  autrement,  daignez  dimi- 
nuer  en  Partic  ma  douleur,  de  ne  pourvoir  pas  vous  contempler  face  a  face.  Accorder  moi  Votre 
Portrait.  J'espere  obtenir  cette  faveur  de  Votre  Complaisance,  vertu  inseparable  des  amcs  qui  con- 
stituent les  vrais  Heros,  comme  vous. 


jfoscph  Wright. 


35 


Que  le  meillcur  Pinccau  trace  votre  Immage,  n'epargnes  ni  fraix  ni  soins,  affin  que  j'obtienne 
un  Portrait  fidel,  et  rcssemblant, —  Portrait  qui  doit  passer  en  fklei  commis  dans  ma  famille,  j'y 
ajoutcrai  une  prescription,  affin  que  quiconque  dc  mon  Nom  ce  vouera  au  metier  des  Armes,  apprenne 
que  vous  etes  1c  plus  parfait  modele  des  guerriers  les  plus  Illustres.  Quant  aux  moynes  de  m'envoyer 
ce  cadcau  pretieux  il  suffira,  Mon  General,  que  vous  addressier  la  caisse  a.  Londres  a  Monsieur  le 
Comte  de  Briihl,  Envoy  Extraordinaire  dc  son  altcsse  Electorale  de  Saxc ;  jc  l'ai  prcvenu,  et  il 
remboursera  avee  la  plus  grande  Reconnaissance  de  ma  Parte,  le  Prix  du  Tableau  et  les  fraix  du 
Transport.  II  faut  bien  que  vous  sachier  aussi,  qui  est  le  vieux  Soudart,  qui  vous  importune.  Et 
bien,  e'est  Le  Comte  Solms,  General  d'Infanterie  au  service  de  Saxe  —  Lieutenant  General  d'lnfan- 
terie  au  service  de  S.  M.  tres  Chretienne,  —  Commandant  de  la  forteresse  de  Konigstein, — Com- 
mandeur  des  ordres  du  Seraphin  et  de  l'Epee  de  Suede,  et  le  plus  sincere  admiratcur  de  l'lllustre 
Washington. 

The  translation,  it  will  be  observed,  is  as  peculiar  to  the  times  as  the  original. 

Konigstein,  9  July,  1783. 

General,  —  The  Greatest  of  Warriors  merits  at  least  to  be  placed  among  those  who  acquired 
the  highest  Reputation  in  the  profession  of  arms,  before  he  appeared  on  the  Theatre  of  Mars.  I 
have  a  small  collection  of  Portraits  of  these  great  Men,  —  Prince  Eugene,  Maurice  of  Saxe,  Frederic 
the  Great,  his  Brother,  Henry  of  Luidhon.  I  have  served  with  all  ;  under  the  Orders  of  the  Third 
I  have  commanded  an  Army.  When  upwards  of  seventy,  I  should  wait  here  with  Indifference  the 
common  end  of  all  Men,  if  WasJiington  did  not  make  me  regret  that  vigour  of  age  in  which  I  served. 

Yes,  Excellent  Mortal,  I  would  come  from  the  Borders  of  the  Elbe  to  render  you  my  hom- 
mage  ;  —  to  admire  you  at  a  less  distance,  —  but  since  Fate  has  decided  otherwise,  let  me  beg  you 
to  alleviate  the  pain  I  feel  in  not  being  able  to  contemplate  you  face  to  face. 

Grant  me  Your  Picture.  I  hope  to  obtain  this  favour  from  that  Complaisance,  —  a  virtue  which 
is  ever  inseparable  from  the  profession  of  arms,  and  which  constitutes  the  true  Hero  like  you.  Let 
the  best  Pencil  trace  your  immage,  —  let  no  pains  or  cost  be  spared  to  favour  me  with  the  most 
faithfull  Likeness. 

The  portrait  will  remain  in  my  family ;  and  I  will  add  an  inscription,  that  whoever  of  my 
family  may  hereafter  acknowledge  the  profession  of  arms,  may  learn  that  you  are  the  most  perfect 
model  of  the  most  Illustrious  warriors. 

With  respect  to  the  means  of  sending  me  this  precious  picture,  it  will  be  sufficient,  my 
General,  if  you  address  it  to  Monsr  le  Count  de  Briihl,  Envoy  Extraordinary  from  his  Electoral 
Highness  of  Saxe.  I  have  given  him  the  necessary  information,  that  he  may  reimburse  the  expence, 
with  the  greatest  Acknowledgments  on  my  Part. 

"  It  is  necessary  you  should  know  who  is  the  old  Soudart  that  now  importunes  you.  It  is 
the  Count  of  Solms,  General  of  Infantry  in  the  service  of  Saxe,  —  Lieutenant  General  of  Infantry  in 
the  service  of  H.  M.  C.  Majesty,  —  Commandant  of  the  Fortress  of  Konigstein,  —  Commander  of  the 
orders  of  Seraphin,  and  of  the  sword  of  Sweden,  —  and  the  most  sincere  admirer  of  the  Illustrious 
Washington. 


36 


Original  Portraits  of  Washington. 


The  portrait  was  shipped  to  the  count,  according  to  direction,  in  care  of  Robert 
Morris,  by  way  of  Paris  ;  and  while  in  that  city  was  inspected  and  approved  by  Jefferson 
and  other  distinguished  Americans 

The  "old  Soudart"  thus  acknowledged  its  receipt:  — 

Sir,  —  I  owe  you  this  satisfaction,  —  the  more  complete,  that  I  have  tried  it  for  a  long  time. 

My  General  and  my  Hero,  —  I  have  just  received  your  picture,  and  I  am  entirely  taken  up  to 
give  it  a  sufficient  embellishment  by  placing  it  between  the  King  of  Prussia  and  his  illustrious 
brother  Henry.  You  see  that  this  is  a  trio  very  harmonical.  I  would  willingly  have  thanked  you 
for  your  great  complaisance ;  but  I  dare  not,  as  I  could  not  express  myself  in  proportion  to  the 
thanks  that  is  due. 

It  must  be  that  the  picture  resembles,  for  I  regard  it  as  the  greatest  ornament  of  my  fortress. 
I  shew  it  to  all  strangers,  amongst  whom  some  are  French  and  some  are  English.  Many  have  had 
the  happiness  of  being  acquainted  with  you. 

I  am  with  the  greatest  respect,  Your  Excellency's  most  obedient  servant, 

LE   COMTE   DE  SOLMS. 

De  la  Fortress  de  Konigstein  en  Saxe,  4  Aug.  17S5. 

I  must  yet  inform  you,  that  for  to  complete  my  happiness,  the  picture  of  your  Excellency  arrived 
in  Saxe  upon  my  birthday. 

The  portrait  owned  by  William  Menzies  of  New  York  is  characterized  by  much 
smoother  lines  and  more  genial  treatment  than  other  works  of  this  artist.  There  is  also 
a  departure  in  the  matter  of  dress. 

An  engraving  of  it  appeared  in  1867  as  a  frontispiece  to  a  little  book  entitled  "Ad- 
dresses of  the  City  of  New  York  to  George  Washington,  with  His  Replies."  It  was 
engraved  by  J.  A.  O'Neill.  "  From  an  original  contemporary  Picture  in  the  possession  of 
William  Menzies,  Esq.    Private  Plate  T 

An  interesting  likeness,  known  to  many  as  the  "  Goodhue  portrait,"  is  in  possession 
of  David  Nichols  of  Salem,  Mass.  It  is  a  clearly  drawn  crayon  profile  colored  in  India 
ink,  and  takes  its  name  from  one  of  Washington's  venerable  contemporaries,  whose  indorse- 
ment is  written  on  it  in  these  words  :  — 

This  was  done  in  New  York  in  1790,  and  acknowledged  by  all  to  be  a  very  strong  likeness. 

B.  GOODHUE 

U.  S.  Senator  from  Mass. 

The  owner  says,  that,  when  Washington  was  on  his  Eastern  tour  in  1789,  he  was 
everywhere  requested  to  have  his  portrait  taken.  The  town  of  Salem,  by  a  committee  of 
citizens,  applied  for  the  favor.  The  town  was  then  fencing  in  a  "  common,"  and  wished 
a  profile  portrait  of  Washington  to  be  copied  in  marble  or  wood,  and  placed  as  an  orna- 
ment on  the  keystone  of  the  arch  above  the  grand  entrance. 


yoseph  Wright 


37 


Washington's  reply  to  these  various  appeals  was,  that  he  would  comply  when  he 
returned  to  New  York,  "  where  Mr.  Trumbull  or  some  other  good  artist  could  be  engaged." 

In  the  following  year  the  crayon  profile  was  sent  through  senator  Goodhue,  then  in 
Congress  in  New  York,  to  his  nephew,  a  Mr.  Proctor  of  Salem,  who  was  one  of  the 
committee.    The  sketch  was  highly  approved,  and  remained  in  the  hands  of  Mr.  Proctor. 

About  1 86 1  his  daughter,  Mrs.  David  Nichols,  in  looking  through  an  old  closet, 
found  the  picture,  carefully  rolled,  and  labelled  in  her  father's  writing;  and  in  1862 
Mr.  Nichols  published  it  extensively. 

Senator  Goodhue  unhappily  neglected  to  mention  the  artist's  name  ;  but  the  cor- 
rectness and  strength  of  the  drawing  soon  attracted  attention,  and  there  was  much 
speculation  as  to  the  author. 

Josiah  Ouincy  was  greatly  pleased  with  it,  writing  an  autograph  letter  in  his  ninety- 
third  year  expressive  of  his  pleasure  in  finding  so  correct  a  rendering  of  the  man  who 
had  his  highest  admiration. 

It  has  been  accredited  to  St.  Memin  ;  but  that  is  impossible  for  two  reasons  :  firstly, 
it  was  drawn  about  four  years  before  that  charming  artist  was  in  New  York  ;  and, 
secondly,  it  is  not  at  all  in  his  style,  for,  whomsoever  his  pencil  delineated,  he  would 
be  certain  to  introduce  something  of  a  remembrance  of  "  la  belle  France." 

This  profile  is  from  the  hand  of  Joseph  Wright,  one  of  the  truest  and  strongest 
artists  that  America  ever  produced.  It  is  severely  plain  and  austere,  —  a  profile  such  as 
could  only  have  been  drawn  by  the  earnest  young  Quaker,  who  naturally  made  a  Friend 
of  the  grave  commander. 

The  time  indicated  by  senator  Goodhue  is  near  that  of  Wright's  appointment  as 
engraver  at  the  Mint  ;  and  it  is  quite  presumable,  that,  in  fulfilling  his  promise  to  the 
good  people  of  Salem,  Washington  should  have  selected  this  artist.  It  is  undeniably  his 
most  valuable  portrait  of  Washington,  and  it  is  greatly  to  be  regretted  that  it  does  not 
bear  his  signature. 

Dunlap  says  Wright  made  an  admirable  profile  of  Washington,  and  there  have  been 
many  conjectures  concerning  the  whereabouts  of  so  valuable  a  sketch.  Happily  such  is 
the  individuality  of  Wright's  pencil,  that  the  drawing  most  clearly  testifies  of  itself  to 
those  who  have  given  attention  to  the  different  styles  of  the  score  of  artists  who  have 
drawn  and  painted  the  features  of  Washington. 

Wright  desired  a  picture  of  Washington  for  himself,  and  made  application  to  the 
President  for  a  sitting,  which,  upon  plea  of  pressing  cares  of  state,  was  refused.  He 
would  not  apply  a  second  time,  but  arranged  with  the  owner  of  a  canopied  pew  in 
Trinity  Chapel,  New  York,  for  a  seat  for  several  consecutive  Sundays,  when  he  made  a 
careful  etching  of  the  head  of  Washington,  who  was  an  attendant  at  the  services.  This 


38  Original  Portraits  of  Washington. 

little  picture  has  done  more  for  the  fame  of  the  artist,  and  has  been  more  frequently 
copied,  than  any  of  his  portraits  of  Washington.    It  is  dignified,  serene,  artistic. 

Wright  reproduced  this  etching  upon  small  cards,  which  were  eagerly  sought,  and 
highly  prized.  These  cJiefs-d'ceuvres  are  exceedingly  rare,  and  the  Goodhue  portrait  is 
fully  corroborated  by  them. 

Soon  after  the  execution  of  the  stolen  portrait,  Wright  was  appointed  by  the  first 
President  first  engraver  of  the  United-States  Mint.  He  made  a  design  for  a  cent  in 
1792.  On  the  obverse,  "it  represents  an  eagle  standing  on  the  half  of  a  globe,  holding 
in  his  beak  a  shield  with  thirteen  stripes."  For  the  reverse  several  designs  were  drawn  ; 
among  them  a  profile  of  the  President.  They  were  all  rejected ;  the  last,  because 
Washington  refused  to  allow  his  head  to  appear  upon  a  coin.  This  act,  though  appar- 
ently trivial,  is  not  so  much  so  as  might  at  first  appear.  It  was  prompted  by  that  jealous 
and  protective  care  which  Washington  felt  for  the  infant  republic,  and  it  has  become  the 
unwritten  law  of  the  land,  that  none  but  an  ideal  head  shall  be  represented  on  United- 
States  coin  ;  so  that,  whatever  spirit  of  usurpation  may  hereafter  arise  in  this  nation,  it 
can  never  be  said,  "  Render  unto  Caesar  the  things  that  are  Caesar's." 

Wright  cut  a  die  of  Washington's  head,  which  was  declared  to  be  an  exceedingly 
faithful  likeness.  After  a  few  impressions,  the  die  was  broken  ;  but  the  portrait  has  been 
preserved  by  an  engraving  on  copper,  made  from  one  of  the  impressions,  which 
engraving  appears  in  a  broadside  edition  of  Washington's  "  Farewell  Address,"  pub- 
lished in  1 796. 

A  cameo  belonging  to  one  of  the  Washington  family,  Mrs.  Ella  Bassett  Washington, 
is  thought  to  have  been  his  work. 

Mr.  Wright  and  his  wife  died  within  a  few  days  of  each  other,  during  the  yellow- 
fever  scourge  of  1793,  in  Philadelphia. 

Engravers,  in  reproducing  Wright's  Washington,  have  generally  selected  his  etchings  ; 
though  the  portrait  sent  abroad  was  several  times  engraved  by  German  and  English 
artists.     His  work  as  a  sculptor  will  be  noted  in  connection  with  plastic  portraits. 


ROBERT  EDGE  PINE. 


ENGLAND. 

1742-1788. 

HIS  artist  was  the  son  of  the  celebrated  engraver,  John  Pine.  He  came  to 
this  country,  being  in  active  sympathy  with  its  principles,  imbued  with  the 
ambition  of  becoming  its  historical  painter.  He  was  of  the  school  of  Sir 
Joshua  Reynolds  ;  and  Edwards,  in  his  "  Anecdotes  of  Painters,"  says,  "  He 
was  considered  among  the  best  colorists  of  his  time."  He  was  a  precocious  artist,  having 
received  at  the  age  of  eighteen  the  prize  of  one  hundred  guineas  offered  by  the  Society 
for  the  Encouragement  of  Arts  for  a  painting  of  any  English  historical  event.  He  chose 
the  surrender  of  Calais,  and  produced  a  fine  picture,  which  Aliamet,  the  noted  French 
engraver  of  marine  paintings,  has  rendered  in  his  happiest  style.  , 

Pine  had  made  his  residence  in  London  unpleasant  by  his  republican  sentiments  and 
the  fearless  utterance  of  them ;  and  upon  his  arrival  in  Philadelphia  he  was  cordially 
received,  as  it  was  conceded  that  he  had  a  certain  claim  upon  all  prominent  Americans. 
He  and  his  wife  were  of  remarkably  diminutive  stature  ;  and,  their  daughters  being  still 
smaller,  "  the  little  family "  became  the  objects  of  much  interest. 

In  pursuance  of  his  plan  for  a  great  historical  work,  Mr.  Pine  proceeded  at  once  to 
make  portraits  from  life  of  such  distinguished  citizens  as  he  met ;  and  visited  Annapolis 
with  the  same  end  in  view.  In  1785  he  went  from  that  city  to  Mount  Vernon,  where  he 
remained  three  weeks.  He  was  hospitably  entertained,  and  painted  portraits  of  the  general, 
Mrs.  Washington,  and  her  two  grandchildren.  These,  like  his  other  efforts,  were  soft  rather 
than  vivid  in  coloring,  and  somewhat  wanting  in  force. 

Pine  painted  two  portraits  of  Washington  at  this  time,  —  one  for  Francis  Hopkinson, 
and  one  which  he  retained.  The  latter,  probably  the  first  work,  was  purchased  by  Henry 
Brevoort  at  Montreal  in  18 17,  and  is  now  in  the  possession  of  his  son,  J.  Carson  Brevoort 
of  Brooklyn,  N.Y.  The  importance  of  this  original  is  increased  by  the  fact  that  it  was  the 
artist's  own  property,  and  after  several  years  was  retouched  by  him,  as  will  appear  by  this 
note  in  Washington's  diary,  entered  while  attending  the  Constitutional  Convention  in 
Philadelphia :  — 

39 


_j.o  Original  Portraits  of  Washington. 


"July,  lySj.  —  Sat  this  morning  to  Mr.  Pine,  who  wanted  to  correct  his  port,  of  me. 
"Sept.,  1787.  —  In  convention.    Dined  at  the  President's,  and  took  tea  at  Mr.  Pine's." 

This  portrait  of  Washington  possesses  a  pleasing-  gentleness,  and  presents  neither  the 
warrior  nor  the  statesman,  but  only  "a  gentleman  of  the  old  school,"  mild,  congenial,  and 
benevolent.  The  mouth  is  sensitive,  the  eyes  kind,  the  broad  brow  un furrowed.  The 
dress,  though  military,  does  not  suggest  command.  His  hand  rests  on  a  cane,  probably 
the  one  but  recently  sent  him  by  Louis  XVI.  ;  and,  what  is  certainly  unusual,  a  gem 
sparkles  in  the  plain  cambric  shirt-ruffle.  It  is,  more  than  any  other,  the  Washington  of 
Mount  Vernon,  being  painted  while  for  a  short  period  he  enjoyed  in  this  well-beloved 
home  the  retirement  which  linked  his  two  great  labors,  —  the  Field  and  the  State. 

We  regret  that  we  have  not  been  able  to  trace  the  Hopkinson  portrait,  and  should  be 
gratified  to  hear  of  its  possession  by  some  descendant  of  the  patriotic  author  of  "  Hail, 
Columbia !  " 

No  record  of  Mr.  Pine  will  be  complete  without  introducing  Washington's  reply  to 
Mr.  Hopkinson  when  that  gentleman  requested  the  favor  of  sittings  for  the  artist.  The 
amiability  of  the  great  chief  was  sorely  tested  by  the  frequent  demands  of  this  character, 
as  he  records  of  himself  in  this  oft-quoted  letter  of  May  16,  1785  :  — 

" '  In  for  a  penny,  in  for  a  pound,'  is  an  old  adage.  I  am  so  hackneyed  to  the  touches  of  the 
Painter's  pencil,  that  I  am  now  altogether  at  their  beck,  and  sit,  like  Patience  on  a  monument,  whilst 
they  are  delineating  the  lines  of  my  face.  It  is  a  proof,  among  many  others,  of  what  habit  and 
custom  may  effect.  At  first  I  was  as  impatient  at  the  request,  and  as  restive  under  the  operation, 
as  a  colt  is  of  the  saddle.  The  next  time  I  submitted  very  reluctantly,  but  with  less  flouncing. 
Now  no  dray-horse  moves  more  readily  to  the  thill,  than  I  to  the  Painter's  Chair.  It  may  easily  be 
conceived,  therefore,  that  I  yielded  a  ready  obedience  to  your  request,  and  to  the  views  of  Mr.  Pine. 
Letters  from  England,  recommendatory  of  this  Gentleman,  came  to  my  hand  previous  to  his  arrival 
in  America,  not  only  as  an  Artist  of  acknowledged  eminence,  but  as  one  who  had  discovered  a 
friendly  disposition  towards  this  country,  for  which,  it  seems  he  had  been  marked." 

Washington,  in  an  unpublished  diary,  mentions  the  artist  in  these  words:  — 

"1785.  April  28tJi,  Thursday.  —  To  Dinner  Mr.  Pine,  a  pretty  eminent  Portrait  &  Historical 
Painter  arrived  in  order  to  take  my  picture  from  the  life  &  to  place  it  in  the  Historical  pieces  he 
was  about  to  draw.  This  Gentleman  stands  in  good  estimation  as  a  Painter  in  England ;  comes 
recommended  to  me  from  Col°  Fairfax,  Mr.  Morris,  Govr  Dickenson,  Mr.  Hopkinson  and  others.  .  .  . 

"  IJ85.  May  19th,  Tliursday.  —  Mr.  Pine  left  this  (on  his  return  to  Philadelphia,)  in  my  Phaeton, 
which  was  to  carry  him  to  Annapolis." 

When  Mr.  Pine  saw  Gen.  Washington  in  Philadelphia  two  years  later,  he  presented 
him  with  a  very  rare  book,  a  quarto  volume,  entitled  "  A  Representation  of  the  Cloathing 


Robert  Edge  Pine. 

See  Page  39. 


Robert  Edge  Pijie.  41 

of  Mis  Majesty's  Household,  and  of  all  the  forces  of  the  Establishments  of  Great  Britain 
and  Ireland,  1742." 

It  has  also  this  ornamental  manuscript  title :  "  Description  of  the  Cloathing  of  His 
Majesty's  bands  of  Gentlemen  Pensioners,  Yeomen  of  the  Guards,  and  Regiments  of  Foot 
Guards,  Foot  Marines,  and  Invalids.  Of  the  Establishment  of  Great  Britain  and  Ireland. 
Anno  MDCCXLII." 

This  book  is  now  in  the  library  at  Albany,  N.Y.  There  are  one  hundred  and  one 
engraved  and  colored  prints  of  British  uniforms ;  and  every  print  is  accompanied  with 
a  page  in  manuscript,  containing  the  names  of  the  series  of  commanding  officers  of  each 
regiment.    The  following  paper  is  pasted  into  the  volume  :  — 

"  This  work  was  executed  by  order  of  his  late  Royal  Highness,  William,  Duke  of  Cumberland, 
and  a  few  setts  given  to  the  most  illustrious  characters  in  Europe,  after  which  the  plates  were 
destroyed.  His  Royal  Highness  having  been  pleased  to  give  this  sett  to  the  late  John  Pine,  who 
engraved  it,  his  son,  Robert  Edge  Pine,  has  now  the  honour  of  presenting  it  to  His  Excellency, 
General  Washington. 

"Philadelphia,  17th  Sep.  1787." 

It  descended  from  Bushrod  Washington — to  whom  it  was  given  by  the  general  — 
to  his  nephew,  George  Custis  Washington,  who  gave  it  to  his  son  Lewis,  and,  with 
other  valuable  relics,  was  purchased  by  the  State  of  New  York  for  the  State  Library,  in 
1 87 1,  from  Mrs.  Ella  Bassett  Washington,  widow  of  Lewis  Washington  of  Belle  Air, 
Hallto'wn,  near  Harper's  Ferry,  W.  Va.    They  were  deposited  in  the  library  in  1874. 

The  portrait  painted  for  Mr.  Hopkinson  was  engraved  by  Longacre,  for  the  "  Ameri- 
can Portrait  Gallery  ;  "  and  the  one  owned  by  Mr.  Brevoort  was  engraved  by  H.  B.  Hall, 
for  Irving's  "Life  of  Washington."  These  are  the  only  two  engravers  who  have  repro- 
duced Pine's  Washington. 

The  following  card  appeared  in  "The  Pennsylvania  Packet,"  Nov.  15,  1784:  — 

'  "MR.  PINE 

Being  honored  by  the  ufe  of  a  commodous  apartment  in  the  State-houfe,  for  the  purpofe  of 
painting  the  most  illuftrious  fsenes  in  the  late  revolution,  hopes  that  thofe  defirous  of  feeing  his 
pictures  will  not  difapprove  of  contributing  one  quarter  of  a  dollar  on  entrance,  in  order  to  be  accom- 
modated with  proper  attendance,  fires  and  defcriptive  catalogue  of  the  Paintings.  N.  B.  Attendance 
will  be  of  the  fide  door  of  the  Congress  chamber  every  morning,  except  Sunday,  at  II.  o'clock.  To 
open  to  morrow." 

Again  Dec.  1  :  — 

"The  feffion  of  the  Supreme  Court  now  being  over  Mr.  Pines  Pictures  are  replacing  in  the  Con- 
grefs  Chamber  of  the  State-Houfe,  and  may  be  feen  after  the  hour  of  11,  as  ufual." 


JAMES  PEALE. 


MARYLAND. 
1749-1831. 

BROTHER  and  pupil  of  the  "  Elder  Peale ; "  painted  a  very  beautiful 
original  miniature  on  ivory,  for  a  snuff-box,  in  1788.  The  sketch  was  made 
while  he  was  present  at  a  sitting  given  by  Washington  to  Charles  Willson 
Peale,  who,  when  his  younger  brother  succeeded  so  well  in  this  effort, 
would  take  no  more  orders  for  miniatures,  but  directed  to  him  all  patrons. 

This  first  portrait  is  now  owned  by  the  artillery  corps  of  the  Washington  Grays, 
Philadelphia,  from  whose  secretary  the  following  facts  were  obtained :  The  family  of 
Rembrandt  Peale,  to  whom  it  belonged,  proposed  in  1842  to  part  with  this  miniature, 
and  a  raffle  for  its  disposition  was  attempted  by  the  artists  of  Philadelphia ;  but,  by  a 
joint  action  of  the  officers  of  the  Washington  Grays,  all  the  chances  were  secured  by 
them,  and  it  became  the  property  of  that  organization.  The  miniature  was  then  placed 
within  a  double  case  of  gold,  which  also  contained  a  lock  of  Washington's  hair.  Eor  a 
time  the  corps  honored  the  successful  marksman  at  their  annual  target-practice  by 
intrusting  this  relic  to  his  keeping ;  but  of  late  they  have  wisely  withheld  it  from  this 
risk  of  loss  or  injur)',  and  it  is  now  deposited  in  a  bank  safety- vault. 

James  Peale  also  painted  a  two-thirds  length  from  life  for  David  C.  Claypoole  of 
Philadelphia,  editor  of  "The  Daily  Advertiser,"  the  journal  chosen  by  Washington  to 
publish  his  Farewell  Address.  In  this  picture  Washington  is  represented  in  the  uniform 
of  commander-in-chief;  and  in  the  background  stands  a  groom  holding  a  black  horse. 
The  form  is  well  drawn,  the  face  serene  and  dignified,  the  costume  truly  rendered  ; 
and  it  is  altogether  a  pleasing  production.  At  the  death  of  Mr.  Claypoole  it  was 
purchased,  with  the  original  manuscript  of  the  Address  (which  Mr.  Claypoole  by  Wash- 
ington's permission  had  retained),  by  James  Lenox,  and  is  in  the  collection  founded  by 
him  in  the  city  of  New  York.  It  is  known  as  the  "Claypoole  Picture,"  and  has  been 
beautifully  engraved  by  John  Sartain  as  a  frontispiece  to  the  reprint  of  the  Address, 
printed  in  1850  by  Mr.  Lenox  for  private  circulation. 
42 


James  Peale. 


See  Page  42 


jfames  Peale.  43 

A  portrait  of  Washington  as  commander-in-chief,  painted  by  James  Peale  in  1795, 
hangs  above  the  doorway  in  Independence  Hall :  below  afe  facsimiles  of  our  first 
revolutionary  flags.  This  is  a  life-study,  and  is  probably  the  picture  rather  ambitiously 
catalogued  for  an  exhibition  in  Philadelphia  in  1 8 14,  as  "A  full-length  portrait  of 
Washington,  and  a  view  of  the  battle  of  Trenton."  James  Peale  shared  the  last  sitting 
which  was  given  his  brother,  and  afterwards  obtained  for  himself  three  hours  with 
Washington. 

The  only  other  engraver  who  reproduced  James  Peale's  portrait  was  H.  B.  Hall, 
who  made  a  private  plate  of  the  first  miniature. 


EDWARD  SAVAGE. 


MASSACHUSETTS. 
1761-1817. 

DWARD  SAVAGE  was  born  at  Princeton  in  the  "old  Bay  State."  He  was 
a  goldsmith  until  after  his  marriage,  when  he  became  interested  in  art,  and 
finally  adopted  the  professions  of  portrait-painting  and  engraving.  He  studied 
for  a  time  with  West,  and  spent  some  months  in  Italy.  He  was  never  a 
superior  artist;  but  his  three  portraits  of  Washington  compare  favorably  with  the  works 
of  those  having  more  reputation  and  greater  pretension,  giving  a  truthful,  if  not  flattering, 
rendering  of  his  subject.  He  succeeded  better  in  his  likeness  of  Gen.  Knox  than  in  any 
he  painted  of  Washington.  The  latter  have  been  severely  criticised  by  some,  while  greatly 
admired  by  others.  President  Josiah  Ouincy  of  Harvard  College  remarked,  only  a  short 
time  before  his  death,  that  the  portrait  by  Savage  owned  by  the  college  was  the  "best 
likeness  of  Washington  in  existence."  The  prejudiced  and  apparently  vindictive  record  of 
Savage  given  by  Dunlap  cannot  be  accepted,  as  the  assertions  of  that  historian  are  con- 
tradicted by  dates. 

Aside  from  portraits,  Savage  ventured  very  little  into  the  domain  of  art.  One  of 
his  allegorical  paintings  —  engraved  by  himself,  and  published  in  Philadelphia  in  1796  — 
represents  Liberty,  as  the  goddess  of  youth,  supporting  the  American  eagle,  as  an  emblem 
of  the  new  nationality.  Mr.  Savage  lived  for  a  number  of  years  in  Philadelphia,  where  he 
painted  Washington  from  life  several  times  during  the  year  1790.  The  first  portrait  was 
of  cabinet  size,  which  he  retained.  It  is  now  in  possession  of  his  grand-daughters,  who 
are  artists  living  in  Fitchburg,  Mass.  This  painting  was  recently  on  exhibition  at  the 
Old  South  Church  in  Boston,  and  is  fresh  in  color  and  in  excellent  preservation.  The 
artist's  own  engraving  made  for  the  book  entitled  "Washington's  Monuments  of  Patriot- 
ism," 1800,  was  doubtless  after  this  first  portrait. 

He  painted  a  second  portrait  of  the  general,  and  one  of  Mrs.  Washington,  for  John 
Adams.    These  have  descended  to  Charles  Francis  Adams,  and  hang  in  the  family  mansion 
at  Ouincy.    Washington  made  a  note  of  having  sat  for  this  picture  "at  the  request  of 
Mr.  Adams." 
44 


Edward  Savage. 

Sec  Page  45. 


Edward  Savage. 


45 


A  third  and  more  familiar  canvas  was  presented  by  the  artist  to  Harvard  College,  foi 
the  Philosophical  Chamber.  It  is  now  conspicuous  on  the  south  wall  of  the  dining-hall, 
Memorial  Building.  Its  originality  is  abundantly  established  by  the  following  entries  in 
Washington's  diary :  — 

"Monday,  21  st  (Dec.  1789). — Sat  from  ten  to  one  o'clock  for  a  Mr.  Savage,  to  draw  my  Por- 
trait for  the  University  of  Cambridge,  in  the  State  of  Massachusetts,  at  the  request  of  the  President 
and  Governors  of  the  said  University. 

" Monday,  28th.  —  Sat  all  the  forenoon  for  Mr.  Savage,  who  was  taking  my  portrait. 

"  Wednesday,  6tk  (J-an? ,  Ijqo).  —  Sat  from  half  after  8  o'clock  till  10,  for  the  portrait  painter, 
Mr.  Savage,  to  finish  the  picture  of  me  which  he  had  begun  for  the  University  of  Cambridge." 

The  portrait  is  thus  designated  in  the  catalogue  of  the  Harvard  collection  :  — 

"No.  4.  Geo.  Washington,  b.  1732  d.  1799. — LL.D.  1776.  Artist  Edward  Savage,  1790. — 
Prcsdt.  United  States  1 789-1 797.    First  LL.D.  of  Harvard  College." 

The  diploma  conferring  the  degree  was  worded  thus :  — 

"The  Corporation  of  Harvard  College,  in  Cambridge,  in  New  England,  constituted  and  created 
the  aforesaid  Gentleman,  George  Washington,  who  merits  the  highest  honor,  Doctor  of  Laws,  —  the 
Law  of  Nature  and  Nations,  and  the  Civil  Law." 

In  the  college  record,  Aug.  30,  1 79 1 ,  is  found  the  following  recognition  of  this  gift:  — 

"  Voted,  That  the  thanks  of  this  corporation  be  given  to  Mr.  Edward  Savage  for  his  polite 
and  generous  attention  to  this  University,  in  painting  a  portrait  of  the  President  of  the  United 
States,  taken  by  him  from  the  life  ;  and  that  Mr.  Savage's  brother  be  requested  to  transmit  to  him 
this  vote." 

The  portrait  shows  the  "  Order  of  the  Cincinnati,"  a  badge  worn  by  members  of  the 
Society  of  the  Cincinnati,  of  which  Washington  was  the  first  president.  The  badge  is 
described  in  section  14  of  the  by-laws  of  the  society  as  follows:  — 

"The  Society  shall  have  an  Order  which  shall  be,  a  bald  eagle  of  gold  bearing  on  its  breast 
the  emblems  hereafter  described,  suspended  by  a  deep  blue  ribbon,  edged  with  white,  descriptive  of 
the  Union  of  America  and  France.  The  principal  figure,  Cincinnatus ;  three  Senators  presenting 
him  with  a  sword  and  other  military  ensigns.  On  a  field  in  the  background,  his  wife,  standing  in 
the  door  of  their  cottage  ;  near  it,  a  plow  and  other  implements  of  husbandry.  Round  the  whole, 
'omnia  reliquit  servare  rcmpublicam.'  On  the  reverse,  sun  rising;  a  city  with  open  gates,  and 
vessels  entering  the  ports  ;  Fame  crowning  Cincinnatus  with  a  wreath  inscribed  '  Virtnte  preminens.1 
Below,  hands  joined,  supporting  a  heart,  with  the  motto,  '  esto  perpetual  Round  the  whole,  Societas 
Cincinnatorium,  Instituta  A.D.  1783." 


46  Original  Portraits  of  Washington. 

The  order  worn  by  Washington,  and  the  same  shown  in  the  Harvard-College  portrait, 
is  in  possession  of  Major  Ben  :  Perley  Poore  of  Massachusetts. 

Another  order,  presented  to  Washington  by  the  French  officers  in  the  Continental 
army,  was  of  the  most  costly  and  elegant  description.  The  eagle  was  composed  of  diamonds, 
with  an  amethyst  beak  ;  the  olive-wreath,  of  emeralds  with  berries  of  rubies ;  and  above 
the  eagle  were  military  emblems,  —  cannon,  drums,  and  flags,  —  studded  with  diamonds. 
The  blue-and-white  ribbon  was  drawn  through  a  diamond  clasp,  from  which  the  order  was 
suspended.  At  Washington's  death  this  order  was  given  to  the  Society  of  the  Cincinnati, 
to  be  worn  by  the  president  thereof,  and  is  now  in  possession  of  the  presiding  officer, 
Hon.  Hamilton  Fish  of  New  York. 

Savage  painted  full  size  —  probably  from  life,  as  he  had  opportunities  fordoing  so  — 
the  well-known  "  Family  Group  at  Mount  Vernon,"  which  was  long  familiar  to  the  visitors 
at  the  New- York  Museum,  which  this  artist  established.  For  many  years  this  composition 
was  thought  to  have  been  destroyed  by  fire  in  New  York.  It  is,  however,  in  the  gallery 
of  the  Boston  Museum,  placed  immediately  over  the  entrance  to  the  theatre,  where  it  has 
been  for  two  generations.  The  painting  is  in  a  fair  state  of  preservation  ;  and  the  owner, 
Mr.  Moses  Kimball,  says,  — 

"It  came  into  my  possession  in  1840,  with  the  collection  of  the  New  England  Museum.  We 
understood  that  Savage  painted  it  for  a  gallery  he  then  had,  which  was  located,  as  I  have  been  told, 
in  Boylston  Hall,  over  the  Boylston  Market,  corner  of  Boylston  and  Washington  Streets.  It  was 
eventually  merged  with  the  '  New  England  Museum  and  Gallery  of  Fine  Arts.'  " 

Washington,  in  uniform,  is  seated  by  a  table,  on  which  is  spread  the  plan  of  the 
"  Capital  City ;  "  and  his  arm  rests  on  the  shoulder  of  his  adopted  son.  Mrs.  Washington 
sits  opposite,  and  points  with  her  fan  to  the  chart.  By  her  side  is  Nelly  Custis ;  and 
Billy  Lee,  the  well-known  colored  servant,  is  just  entering  a  door  at  the  back.  It  is  a 
very  interesting  domestic  scene  :  the  group  is  seated  on  the  portico,  and  the  broad  Poto- 
mac is  seen  in  the  background.  The  portraits  of  both  the  General  and  Mrs.  Washington 
are  strong  and  uncompromising,  rather  than  flattering ;  while  the  satin  robe  of  the  lady  is 
given  with  a  delicacy  that  challenges  noted  painters  of  drapery.  An  engraving  made  by 
the  artist  of  this  group  was  extensively  published.    It  bears  this  quaint  inscription  :  — 

"The  Washington  family  —  George  Washington,  his  Lady,  and  her  two  grandchildren  by  the 

name  of  Custis.    Painted  and  engraved  by  E.  Savage." 

The  plate  is  ascribed  by  some  to  David  Edwin,  who  was  associated  with  Savage ;  but 
we  think  this  unjust  to  both  artists.  Edwin,  who  was  a  famous  story-teller,  related  to 
John  Sartain  an  incident  concerning  the  painting,  which  indicates  that  the  plate  was  com- 


Edward  Savage.  4  7 

mcnced  some  years  before  the  print  was  published,  which  was  not  until  1798.  Mr.  Sartain, 
who,  supposing  the  painting-  to  have  been  destroyed,  reproduced  the  plate,  says, — 

"  I  only  know  that  the  engraving  was  really  copied  from  a  painting  by  a  humorous  description 
that  David  Edwin  gave  me  of  a  journey  from  Philadelphia  to  Burlington,  N.J.,  in  an  open  row-boat, 
with  that  troublesome  picture  along.  The  plate  was  in  progress  here  in  Philadelphia,  when,  the  yellow- 
fever  breaking  out,  Savage  and  company  departed  for  Burlington  by  way  of  the  river.  He  would 
not  have  the  canvas  taken  off  the  stretcher,  and  rolled  ;  and  it  was  large  enough  to  be  almost  unman- 
ageable when  the  wind  blew.  It  was  one  of  the  oddest  things  imaginable  to  see  and  hear  Edwin 
describe  and  act  his  skilful  holding  of  the  canvas  so  as  to  keep  it  edgewise  to  the  wind  with  exact 
nicety.    Then  his  energetic  struggles  with  it  when  the  wind  caught  either  side,  etc." 

Mr.  Sartain  has  reproduced  the  plate  in  his  happy  manner. 

In  Mrs.  Washington's  will  is  a  clause  bequeathing  "  to  Eleanor  Parke  Lewis  a  print 
of  the  Washington  family  in  a  box  in  the  garret."  Another  of  these  engravings  belonged 
to  Mrs.  Martha  Peter,  and  remains  in  the  family  at  Tudor  Place,  Georgetown.  A  third, 
now  owned  by  Mrs.  Anna  S.  Walton  of  Fairfax  County,  Virginia,  has  this  inscription  on 
the  back  :  "  Presented  to  Mrs.  Elizabeth  Washington  by  George  Washington  Parke  Custis, 
July  4,  1802."  Washington  mentions  this  lady  in  his  will  as  "  Elizabeth  Washington  of 
Hayfield,"  to  whom  he  bequeathed  a  mourning  ring  of  the  value  of  one  hundred  dollars. 
This  practical  lady  purchased  a  rather  plain  memorial  ring,  but  with  the  residue  of  the 
legacy  had  a  miniature  painted  from  one  of  Washington's  approved  portraits  ;  which  relic, 
as  well  as  the  ring,  remains  in  her  family.  Mrs.  Washington  also  says  in  her  will,  "  I 
give  and  bequeath  to  my  neighbor,  Mrs  Elizabeth  Washington,  five  guineas,  to  get  some- 
thing in  remembrance  of  me." 

Savage  made  five  plates  of  his  own  portraits  of  Washington.  About  fifteen  engravings 
were  made  by  other  artists,  from  Savage,  before  1800  ;  and  none  are  found  since  that  date 
until  1865,  when  Buttre  and  O'Neill  each  made  a  plate,  or  a  reproduction  of  Savage's 
own  engraving  of  the  Harvard  portrait.  These  were  published  in  two  different  editions 
of  "  Washingtoniana." 


MADAME  DE  BREHAN. 


FRANCE. 

HIS  lady  came  to  America  with  her  brother,  Count  de  Moustier,  French 
minister  to  the  United  States.  She  was  a  woman  of  rare  native  gifts  and 
hT^P^I  varied  culture,  possessing  skill  and  taste  in  drawing,  in  which  accomplishment 
she  delighted.  This  charming  French  woman  felt  great  enthusiasm  for  the 
American  hero,  and  made  her  first  miniature  of  him  from  memory  in  1787,  as  proven  by 
a  copy  in  the  possession  of  a  grand-daughter  of  Mrs.  Washington.  The  record  written 
on  the  back  is  as  follows  :  — 

"From  a  cameo  painted  in  white  and  blue  by  the  Marchioness  de  Breant,  1787,  accompanied 
by  an  inscription,  the  translation  of  which  is,  'Avenger  of  his  country's  wrongs  —  his  prudence  freed 
her  from  tyrants,  and  the  respected  arm  which  conquered  the  independence  for  an  oppressed  people, 
under  the  protection  of  Law  maintains  Liberty!    a.  Paris.'" 

Count  de  Moustier  and  his  sister  were  at  Mount  Vernon  during  the  autumn  of  1788, 
when  they  were  entertained  with  the  consideration  due  to  their  rank.  Washington  at  that 
time  gave  her  an  opportunity  to  draw  a  miniature  from  life;  which  picture  she  presented 
to  Mrs.  Washington,  making  a  duplicate  for  herself.  Mrs.  Washington  gave  this  miniature 
to  Eleanor  Custis,  and  it  is  thus  described  by  its  present  owner :  — 

"A  profile,  painted  in  white  on  a  drab-colored  ground,  representing  Washington  crowned  by  a 
laurel  wreath.  On  the  reverse  is  a  profile  likeness  of  Nelly  Custis  with  a  ribbon  around  the  hair, 
—  a  girl  of  eleven  years." 

This  record  is  found  in  Washington's  diary :  — 

"Saturday,  Oct.  3rd,  1788. — About  two  o'clock  sat  for  Madame  de  Brehan  (Brienne)  to  complete 
a  profile  miniature  of  me  which  she  had  begun  from  memory,  and  which  she  had  made  exceedingly 
like  the  original." 

Of  this  miniature  Madame  de  Brehan  made  several  copies,  one  of  which  was  given  to 

Mrs.  Bingham  in  1791.    Another,  sent  to  Paris,  was  engraved,  and  bears  this  inscription: 

"Grave  d'apres  le  Camee,  peint  par  Mme  la  Marquise  de  Breant,  par  A.  F.  Seraent,  1790." 
48 


Madame  de  Brehan.  49 

She  sent  to  Washington,  through  her  brother,  a  number  of  impressions  from  this  plate, 

i 

which  he  presented  to  his  lady  friends  with  his  autograph.  One  of  these  prints,  with  the 
inscription,  "The  President's  compliments  accompany  the  enclosed  to  Mrs.  Morris,"  was  a 
few  years  ago  presented  by  a  member  of  the  Morris  family  to  Gen.  George  B.  McClellan. 
It  has  been  exquisitely  reproduced  in  the  Bureau  of  Engraving  and  Printing  of  the  United 
States  Treasury  Department  by  Charles  Burt. 

On  the  back  of  another,  which  Washington  presented  to  Mrs.  Gen.  Stuart,  he  wrote, — 

"Not  for  the  representation  or  the  value,  but  because  it  is  the  production  of  a  fair  lady,  the 
President  takes  the  liberty  of  presenting  the  enclosed,  with  his  best  regards,  to  Mrs.  Stuart,  praying 
her  acceptance  of  it. 

"Wednesday,  16th  Mar.  1795." 

This  souvenir  passed  into  the  possession  of  Dr.  Hosack  of  New  York,  by  whose 
family  it  is  now  owned. 

Madame  de  Brehan  also  painted,  on  copper,  the  profile  heads  of  Washington  and 
Lafayette  in  medallion  form,  which  she  presented  to  Washington.  They  were  for  a  number 
of  years  in  the  Arlington  Collection,  and  are  now  owned  by  some  member  of  the  family. 
Benson  J.  Losing  had  a  woodcut  made  from  them  for  his  "  Mount  Vernon  and  its  Asso- 
ciations." Her  portraits  were  always  made  in  profile,  with  the  head  sometimes  laureated. 
The  pose  is  rather  stiff,  the  expression  amiable,  the  lines  delicate,  yet  so  firmly  drawn  that 
they  were  especially  adapted  to  medallic  engraving.  The  medal  presenting  the  profiles  of 
Washington,  Lafayette,  and  Rochambeau,  was  after  her  drawing. 

The  marchioness  seems  to  have  been  a  lady  of  enviable  energy.  In  one  of  the  jour- 
nals of  the  time  is  a  notice  of  her  journey  to  Mount  Vernon  from  New  Hampshire  by  way 
of  Fort  Schuyler,  where  she  witnessed  the  novel  scene  of  an  Indian  treaty. 

In  another  notice  of  her,  we  find  that  on  the  evening  of  April  30,  1789,  she 
displayed  her  skill  as  an  artist  by  handsome  decorations  on  the  front  of  the  French 
minister's  mansion.  These  were  in  honor  of  Washington's  first  inauguration,  and  con- 
sisted  of  large  historical  scenes  in  the  nation's  short  life,  with  sketches  indicative  of  its 
present  prosperity,  and  allegorical  compositions  foreshadowing  its  future  glory. 

An  engraving  of  Madame  de  Brehan's  cameo,  by  Roger,  bears  this  inscription  :  — 

"George  Washington  ne  en  Virginie  le  11  Fevrier  1732.  Grave  d'apres  le  camee  peint  par 
Madame  de  Brehan  a  New  York  en  1789.    Dirige  par  P.  F.  Tardieu.    Grave  par  Roger." 

It  appears  in  a  book  entitled  "  Voyage  dans  La  Haute  Pensylvanie  et  dans  L'Etat 
de  New  York,  Par  tin  Membre  adoptif  de  la  Nation  O'Neida.  Traduit  et  publie  par 
l'auteur  des  Lettres  D'un  cultivateur  Americain."  Paris,  1801.  The  real  author  was  Hector 
St.  John  de  Crevecceur. 


ADOLPH  ULRIC  WERTMULLER. 


SWEDEN. 
1750-1811. 

HIS  accomplished  artist,  having  met  with  severe  financial  reverses  in  his  own 
country,    emigrated    to    the    United    States    in    1794.     He    had    been  the 
recipient   of  distinguished   honors   from    the    art-world    of  his    native  city, 
Stockholm,  and  also  of  Paris.    He  was  a  devoted  art-student ;  and  his  taste 
was  improved  by  personal  association  with  the  highest  circles  of  culture  in  Europe. 

He  was  not  long  content  in  the  New  World,  although  socially  courted,  and  after  a 
year  or  two  returned  to  Sweden.  Renewed  misfortunes  again  drove  him  to  America  ;  and 
he  finally  became  a  citizen,  and  married,  at  Wilmington,  Del.,  a  grand-daughter  of 
Hesselius,  pastor  of  the  first  Swedish  church  in  that  city. 

During  his  first  visit  here  he  made  several  portraits  of  Washington  from  life.  No 
record  of  the  sittings  is  found,  but  the  originality  of  the  works  cannot  be  successfully 
questioned.  Though  from  the  pencil  of  a  superior  artist,  they  have  not  been  classed 
among  the  most  approved  efforts.  The  execution  is  exquisite  ;  but  as  the  painter 
belonged  to  that  ideal  French  school  which  refused  the  truth  in  view,  seeking  something 
higher,  he  never  could  have  attained  eminence  in  portraiture.  To  the  grave  and 
unassuming  Washington  he  gave  the  air  cf  an  accomplished  courtier.  Wertmuller 
retained  his  first  portrait  for  some  time,  and  then  presented  it  to  Mr.  Cazenove  of 
Switzerland.  In  a  generation  or  two  it  was  purchased  in  that  country  from  the  owner's 
descendants,  and  came  into  the  possession  of  Charles  Augustus  Davis,  author  of  "  The 
Life  and  Writings  of  Major  Jack  Downing  of  Downingsville,  away  down  East  in  the  State 
of  Maine,"  etc. 

This  work,  as  every  other  rendering  of  the  well-beloved  man,  had  ardent  admirers ; 
and  Mr.  Davis  records  that  Mr.  Meredith  of  Baltimore,  on  seeing  Wertmuller's  portrait 
for  the  first  time,  in  1856  (although  he  had  never  heard  of  it),  was  immediately  attracted 
towards  it,  and,  approaching,  said,  "Where  does  this  come  from?"  and,  gazing  intently, 
added,  "  I  never  before  saw  a  picture  of  Washington  that  so  forcibly  brings  back  to  my 
memory  what  I  retain  there  of  Washington  as  he  appeared  for  a  whole  season  in  church, 
5° 


Ulric  Wertmuller. 

See  Page  50. 


3 


Adolph  Ulric  Werimiiller.  5  i 

our  pew  being  next  to  his  in  Philadelphia."  Then  he  proceeded  to  detail  what  he 
considered  as  defects  in  other  portraits ;  all  being  resemblances  in  this  or  that  feature, 
"  but  none  so  lifelike  as  this." 

One  of  the  stereotyped  criticisms  on  this  painting  is  in  regard  to  the  lace  frill  of 
the  shirt,  it  being  affirmed  that  Washington  never  wore  lace  ;  but  an  anecdote  related  by 
Miss  Stuart  shows  that  Wertmuller  took  no  privilege  in  thus  portraying  the  costume. 
It  appears  that  Stuart  asked  Mrs.  Washington  for  a  piece  of  lace  such  as  her  husband 
wore,  wishing  it  to  paint  from.  She  gave  him  a  frill  of  linen  bordered  with  lace,  telling 
him  to  "  keep  it,  as  it  might  be  of  use  to  him  in  other  pictures."  When  Rembrandt 
Peale,  in  his  lecture  on  the  "  Portraits  of  Washington,"  was  hypercritical  upon  the  lace 
frill  introduced  by  Stuart,  the  artist's  daughter  significantly  sent  him  a  piece  of  this  same 
lace,  with  a'n  account  of  the  circumstance. 

Another  portrait,  cabinet  size,  by  this  artist,  though  the  rendering  is  more  dignified 
and  the  costume  military,  was  in  1795  presented  by  Washington  to  his  friend  Baron  Von 
Warhendorff,  and  by  that  gentleman  was  given  to  Monsieur  La  Grande,  who  gave  it  to 
Cornelius  Bogart.  It  is  now  in  possession  of  the  widow  of  Dr.  Bogart  of  New  York. 
"The  Union,"  Washington,  March,  1853,  says  of  this  painting,  "Our  attention  has  been 
called  to  a  portrait  of  Washington  now  on  exhibition  in  the  rotunda  of  the  Capitol,  which 
purports  to  possess  much  interest  as  a  work  of  art."  A  third  by  Wertmuller,  was  in  Paris  as 
late  as  1858,  where  a  copy  was  made  by  Mrs.  Archer  Anderson  of  Richmond.  A  fourth  has 
been  purchased  by  the  Historical  Society  of  Pennsylvania,  where  it  was  deposited  some  years 
since  by  Mr.  Jasper  Green,  grandson  of  the  first  owner,  Amos  Slaymaker,  to  whom  the  artist 
gave  it.    The  full  name,  "Adolph  Ulric  Wertmuller,"  is  inscribed  upon  it,  with  the  date  1795. 

Another  bust-portrait  was  executed  in  1797,  and  presented  to  Mrs.  Laurence  Lewis. 
This  work  was  purchased  from  her  grandchildren  by  the  United-States  Government  (1878), 
with  other  relics,  by  provision  of  an  Act  of  Congress,  and  has  been  placed  in  the 
custody  of  the  Secretary  of  the  Interior.  It  is  asserted  by  her  family  that  Mrs.  Lewis 
(Nelly  Custis)  prized  this  portrait  as  an  admirable  representation  of  Washington  at  the 
time  it  was  painted.  In  an  article  copied  by  "  The  National  Intelligencer,"  Nov.  17,  1857, 
from  the  Washington  correspondence  of  "The  New-York  Times,"  an  original  portrait  of 
Washington  is  described,  which  is  attributed  to  Wertmuller.  Referring  to  an  assertion  by 
a  contemporary,  that  Wertmuller  did  paint  such  a  portrait,  this  inquiry  is  made:  "If  the 
picture  described  is  not  Wertmuller's,  where  is  that  artist's  work  ? "  which  inquiry  is 
answered  by  the  ownership  of  the  portrait  by  the  Lewis  family,  it  being  the  same  one 
sold  to  the  United  States.  This  picture  alluded  to  in  "The  Intelligencer"  is  in  the  office 
of  the  Secretary  of  the  Interior. 

Another  portrait  by  Wertmuller  was  bought  at  a  public  auction  in  Washington  by 


52 


Original  Portraits  of  Washington. 


Mr.  Benjamin  F.  Beale.  It  is  a  full-size  bust,  and  in  each  particular  is  a  close  following 
of  the  one  owned  by  Mr.  Davis.    No  history  of  the  painting  was  attainable. 

H.  B.  Hall  made  a  beautiful  engraving  of  the  WertmLiller  in  the  possession  of  Mr. 
Davis  for  Tuckerman's  "  Portraits  of  Washington  ;  "  and  Buttre  executed  one  of  the  military 
portrait.  These  are  the  only  two  engravings  of  Wertmuller's  Washington  published  in 
America. 

We  introduce  a  dramatic  account  which  was  published  in  "  The  National  Intelligencer," 
and  gives  the  recollections  of  an  old  gentleman  upon  the  personal  appearance  of  Wash- 
ington.   These  remarks  were  called  forth  by  the  Wertmuller  portrait :  — 

"I  saw  this  remarkable  man  four  times.  It  was  in  the  month  of  November,  1798,  I  first 
beheld  the  Father  of  his  Country.  It  was  very  cold,  the  north-west  wind  blowing  down  the  Potomac 
at  Georgetown,  D.C.  A  troop  of  light  horse  from  Alexandria  escorted  him  to  the  western  bank  of 
the  river.  The  waves  ran  high,  and  the  boat  which  brought  him  over  seemed  to  labor  considerably. 
Several  thousand  people  greeted  his  arrival  with  swelling  hearts  and  joyful  countenances.  The  military 
were  drawn  up  in  a  long  line  to  receive  him  :  the  officers,  dressed  in  regimentals,  did  him  homage. 
I  was  so  fortunate  as  to  walk  by  his  side,  and  had  a  full  view  of  him.  Although  only  about  ten 
years  of  age,  the  impression  his  person  and  manner  made  on  me  is  now  perfectly  revived.  He  was 
six  feet  and  one  inch  high,  broad  and  athletic,  with  very  large  limbs,  entirely  erect,  and  without  the 
slightest  tendency  to  stooping ;  his  hair  was  white,  and  tied  with  a  silk  string ;  his  countenance 
lofty,  masculine,  and  contemplative  ;  his  eye  light  gray.  He  was  dressed  in  the  clothes  of  a  citizen, 
and  over  these  a  blue  surtout  of  the  finest  cloth.  His  weight  must  have  been  two  hundred  and  thirty 
pounds,  with  no  superfluous  flesh  :  all  was  bone  and  sinew,  and  he  walked  like  a  soldier.  Whoever 
has  seen  in  the  Patent  Office  at  Washington  the  dress  he  wore  when  resigning  his  commission  as 
commander-in-chief,  in  December,  1783,  at  once  perceives  how  large  and  magnificent  was  his  frame. 
During  the  parade  something  at  a  distance  attracted  his  attention.  His  eye  was  instantaneously 
lighted  up  as  with  a  lightning's  flash.  At  this  moment  I  see  its  marvellous  animation,  its  glowing 
fire,  exhibiting  strong  passion  controlled  by  deliberate  reason. 

"In  the  summer  of  1799  I  again  saw  the  chief.  He  rode  a  purely  white  horse,  seventeen  hands 
high,  well  proportioned,  of  high  spirit  :  he  almost  seemed  conscious  that  he  bore  on  his  back  the 
Father  of  his  Country.  He  reminded  me  of  the  horse  whose  neck  is  clothed  with  thunder.  I  have 
seen  some  highly  accomplished  riders  ;  but  none  of  them  approached  Washington  :  he  was  perfect  in 
this  respect.  Behind  him,  at  the  distance  of  perhaps  forty  yards,  came  Billy  Lee,  his  body-servant, 
who  had  perilled  his  life  in  many  a  field,  beginning  on  the  heights  of  Boston  in  1775,  and  ending 
in  1 78 1,  when  Cornwallis  surrendered,  and  the  captive  army  with  irrepressible  chagrin  laid  clown 
their  arms  at  Yorktown.  Billy  rode  a  cream-colored  horse  of  the  finest  form  ;  and  his  old  revolu- 
tionary cocked  hat  indicated  that  its  owner  had  often  heard  the  roar  of  cannon  and  small-arms,  and 
encountered  many  trying  scenes.  Billy  was  a  dark  mulatto.  His  master  speaks  highly  of  him  in 
his  will,  and  provides  for  his  support. 

"A  few  months  before  his  death  I  beheld  this  extraordinary  man  for  the  last  time.    He  stopped 


A dolph  U Iric  W ertm  tiller. 


53 


at  the  tavern  opposite  the  Presbyterian  Church  in  Bridge  Street,  Georgetown.  At  that  time  a  regi- 
ment of  soldiers  was  stationed  in  their  tents  on  the  banks  of  Rock  Creek,  and  frequently  attended 
Dr.  Balch's  church,  dressed  in  their  costume,  and  powdered  after  the  Revolutionary  fashion.  I  attended 
their  parade  almost  every  day  ;  and  on  one  of  these  occasions  I  recognized  Washington  riding  on 
horseback,  unaccompanied  by  any  one.  He  was  going  out  to  see  his  houses  on  Capitol  Hill,  as  I 
supposed.  They  were  burnt  by  the  British  in  1814.  My  youthful  eye  was  riveted  on  him  until  he 
disappeared,  and  that  forever.  I  was  surprised  that  he  did  not  once  look  at  the  parade  :  so  far  as 
I  could  discover,  on  the  contrary,  he  appeared  indifferent  to  the  whole  scene.  It  has  been  my 
privilege  to  sec  the  best  likenesses  of  the  chief.  The  one  of  all  others  most  resembling  him  is  that 
prefixed  to  the  first  volume  of  Irving's  1  Life  of  Washington.'  All  the  rest  wanted  the  animation 
I  perceived  in  his  features." 

Wertmiiller  painted  a  portrait  of  Maria  Antoinette,  by  order  of  the  King  of  Sweden, 
which  is  a  work  full  of  character  and  beauty.  He  had  a  creative  pencil,  and  was  distin- 
guished for  his  wonderfully  vivid  coloring.  An  example  of  his  perfection  in  these  traits 
is  given  by  his  "  Danae,"  the  first  study  and  a  finished  head  of  which  are  in  the  gallery 
of  Mr.  J.  C.  McGuire  of  Washington,  D.C.  When  "Danae"  was  first  exhibited  in  the 
United  States,  a  great  indignation  was  expressed,  the  nude  in  art  being  violently  rejected 
by  the  general  taste.  The  criticisms  of  the  day  show  an  array  of  virtuous  remonstrance, 
of  which  the  florid  quotation  given  by  Dunlap  is  a  fair  sample  :  — 

"  His  Danae  is  his  greatest  and  most  splendid  production.  It  is  indeed  his  great  work  ;  and 
for  that  very  reason  it  is,  on  every  account,  to  be  regretted,  that,  both  in  the  subject  and  the  style 
of  execution,  it  offends  alike  against  pure  taste  and  the  morality  of  the  art.  As  in  literature,  so 
also  in  the  other  productions  of  cultivated  genius,  the  connection  between  a  corrupted  moral  taste 
and  an  unchaste,  false  style,  is  so  strong,  that,  did  not  frequent  experience  teach  otherwise,  one  would 
think  it  impossible  that  an  artist  who  feels  the  dignity,  and  aspires  to  the  perfection,  of  the  noble 
art  which  he  loves,  could  ever  stoop  to  the  pollution  of  that  art  and  the  debasement  of  his  own 
powers." 

Something  of  a  revulsion  in  public  sentiment  is  evidenced  by  the  fact,  that,  at  a 
sale  of  Wertmuller's  paintings  shortly  after  his  death,  a  small  copy  of  this  picture  brought 
five  hundred  dollars,  and  the  original  was  afterwards  sold  in  New  York  for  fifteen  hundred 
dollars. 


CHRISTIAN  GULAGER. 


DENMARK. 
1762-1827. 

HIS  artist  gave  early  promise  of  more  success  than  he  attained.  At  the  age 
of  seventeen  he  won  the  prize  medal  for  drawing  and  painting  at  the 
Royal  Academy  at  Copenhagen,  which  insured  the  privilege  of  three  years 
foreign  travel  at  the  King's  expense.  He  visited  St.  Thomas,  of  which 
island  his  uncle  was  then  governor.  His  family  expected  him  to  return  to  Denmark ; 
but  about  the  close  of  the  Revolution  he  went  to  Boston,  where  he  married  a  widow,  an 
amiable  and  gentle  lady,  who  after  his  death  resided  in  Philadelphia,  where  she  was 
long  remembered  for  her  gracious  and  courtly  manner. 

Glilager's  inheritance,  was  ample,  but  he  seems  to  have  been  exceedingly  generous 
and  habitually  improvident.  In  consequence,  he  became  reduced,  but  retained  a  proud 
spirit  of  independence,  and  once  resented  a  proposal  from  Stuart  to  paint  draperies  for 
him.  We  cannot  take  the  liberty  of  calling  Giilager  "  an  adventurous  limner,"  though,  in 
the  straits  of  fortune,  he  availed  himself  of  his  varied  accomplishments  for  support. 

He  opened  in  Boston  a  free  museum  of  paintings  and  curiosities,  which  became  a 
fashionable  resort.  He  painted  portraits,  theatrical  scenery,  signs,  and  birds.  He  was  so 
successful  in  portraying  the  national  bird,  that  among  painters  he  was  called  the  "  Father 
of  the  Eagle."  One  of  the  most  celebrated  is  an  eagle  supporting  with  the  talons  of 
one  foot  a  heart-shaped  shield  with  the  national  stripes  upon  it:  the  other  foot  grasps 
a  bundle  of  loose  darts  and  an  olive-branch.  The  whole  is  surrounded  by  a  dark  cloud, 
the  upper  part  of  which  is  irradiated  by  a  halo  of  glory,  and  below,  is  riven  by  lightning. 

Giilager  first  sketched  Washington  by  stealth,  when  he  sat  in  King's  Chapel,  Boston, 
Tuesday,  Oct.  29,  1789.  Application  had  been  made  to  the  President  by  a  deputation  of 
ladies,  led  by  Mrs.  Hancock,  to  allow  his  portrait  to  be  taken  while  in  Boston,  for 
Faneuil  Hall.  The  application  of  the  Boston  committee  is  thus  noted  in  Washington's  diary, 
October,  1 789  :  — 

TJiursday  2~th.  —  I  dined  at  a  large  and  elegant  dinner  at  Faniuel  Hall  given  by  the  Govenor 
and  spent  the  evening  at  my  lodgings.    When  the  committee  from  the  town  presented  their  address 
54 


/ 


C  H  R !  ST  IAN  G  U  t  ,A<  IKK. 
Sec  Pa,i(t'  56. 


CJiristian  Git  lager. 


55 


it  was  accompanied  with  a  request  (on  behalf  they  said  of  the  ladies)  that  I  would  have  my  picture 
taken  for  the  Mall,  others  might  be  copied  from  it  for  the  use  of  their  respective  families.  As  all 
the  next  day  was  assigned  to  serious  purposes,  and  I  was  engaged  to  leave  town  on  Thursday,  early, 
I  informed  them  of  the  impracticability  of  doing  this,  but  that  would  have  it  down  when  I  returned 
to  New  York  if  there  was  a  good  painter  there,  or  by  Mr.  Trumbull  should  he  arrive  and  send  it 
to  them." 

He  excused  himself  from  compliance,  giving  the  same  reply  as  to  the  committee  from 
Salem  who  had  preferred  a  like  request  ;  viz.,  that  he  would  have  "  Mr.  Trumbull  or  other 
good  artist  draw  it  for  them."  There  was  much  disappointment  at  this  refusal  ;  and  GUlager, 
wishing  to  secure  a  likeness,  applied  to  Dr.  Jeremy  Belknap,  who  granted  the  favor  of  so 
placing  the  artist  "  in  a  pew  behind  the  pulpit,"  that  he  could  obtain  the  best  view  of  the 
distinguished  guest. 

The  occasion  was  that  of  an  entertainment  to  raise  funds  for  the  building  of  a 
portico  for  the  church.  An  oratorio  was  given,  which  had  been  delayed  in  anticipation 
of  Washington's  visit.  A  descriptive  account  says  he  "  was  dressed  in  a  black  velvet 
suit,  and  gave  Jive  guineas  towards  the  object '." 

The  oratorio  was  preluded  by  the  singing  of  an  ode  in  honor  of  Washington.  This 
original  effort,  more  earnest  than  elegant,  began  thus :  — 

"  Great  Washington  the  hero's  come  ! 
Each  heart,  exulting,  hears  the  sound. 
Thousands  to  their  deliverer  throng, 
And  shout  him  welcome  all  around. 
Now  in  full  chorus  join  the  song, 
And  shout  aloud,  '  Great  Washington  ! '  " 

In  an  address  delivered  by  the  Hon.  Robert  C.  Winthrop  at  the  opening  of 
the  Musical  Festival  in  Boston,  May  21,  1857,  he  refers  to  the  entertainment  in  King's 
Chapel,  saying,  "  Of  all  oratorios  or  concerts  which  Boston  has  ever  witnessed,  I  think 
this  is  the  one  we  should  all  have  preferred  the  privilege  of  attending."  He  quotes  a 
second  ode,  introduced  upon  the  omission  of  a  part  of  the  programme :  — 

"Welcome,  thrice  welcome,  to  the  spot 
Where  once  thy  conquering  banners  waved  1 
Oh,  never  be  thy  praise  forgot 
By  those  thy  matchless  valor  saved  ! 

"  Thy  glory  beams  to  Eastern  skies : 
See  !  Europe  shares  the  sacred  flame ; 
And  hosts  of  patriot  heroes  rise 
To  emulate  thy  glorious  name. 


56 


Original  Portraits  of  Washington. 


"  Labor  awhile  suspends  his  toil 
His  debt  of  gratitude  to  pay ; 
And  Friendship  wears  a  brighter  smile  ; 
And  Music  breathes  a  sweeter  lay. 

"  May  health  and  joy  a  wreath  intwine, 
And  guard  thee  through  this  scene  of  strife, 
Till  seraphs  shall  to  thee  assign 
A  wreath  of  everlasting  life." 

The  orator,  after  quoting  the  above,  refers  to  Giilager's  painting  as  one  which  will 
"  have  something  of  peculiar  interest  in  the  musical  world  as  the  Boston  Oratorio  Portrait 
of  Washington." 

The  sketch  taken  in  church,  though  pronounced  by  Dr.  Belknap  "  not  a  bad  one," 
was  thrown  aside  after  Giilager  secured  a  sitting  by  consent  of  the  general.  The  taking 
of  this  picture  is  thus  recorded  in  Washington's  diary,  Nov.  3,  1789,  Portsmouth,  N.H.  :  — 

"  Sat  two  hours  in  the  forenoon  to  M.    painter  of  Boston,  at  the  request  of  Mr.  Brick 

(Samuel  Breck)  of  that  place,  who  wrote  to  Major  Jackson  that  it  was  the  earnest  wish  of  many  of 
the  inhabitants  of  that  town  that  he  might  be  indulged." 

This  work  must  have  been  worthy  of  consideration,  as  it  was  approved  by  those  who 
had  seen  Washington  so  recently.  The  manner  in  which  it  was  disposed  of  is  thus 
related :  "  Some  Boston  gentlemen,  who  thought  the  painter  should  be  rewarded,  made 
a  raffle  to  raise  a  sum  sufficient  to  purchase  this  picture.  It  fell  to  Daniel  Sargent,  jun., 
who  presented  it  to  Dr.  Belknap."  It  is  now  owned  by  a  grand-daughter  of  this  eminent 
antiquarian,  Mrs.  Arthur  Codman  of  Bristol,  R.I.  In  1858,  when  in  possession  of  the 
lady's  father,  Edward  Belknap,  Esq.,  a  beautiful  line  engraving  was  made  of  it  by  William 
E.  Marshall,  which  appeared  in  the  "  Proceedings  of  the  Massachusetts  Historical  Society," 
1855-58. 

This  history  of  the  portrait  was  furnished  to  the  late  George  Ticknor  by  Miss 
Elizabeth  Belknap,  who  inherited  it  from  her  father,  and  distinctly  remembered  all  the 
circumstances  of  its  presentation  to  him. 

The  portrait  is  a  bust  in  the  costume  of  a  civilian.  The  head  is  very  stiffly  drawn, 
the  eyes  are  light  brown,  and  the  expression  mild.    It  is  in  a  good  state  of  preservation. 

Giilager  must  have  finished  the  first  sketch,  and  taken  it  with  him  to  New  York  ;  for 
in  no  other  way  can  we  account  for  a  portrait  by  this  artist,  which  attracted  considerable 
attention  in  that  city  on  the  centennial  anniversary  of  Washington's  birth,  Ecb.  22,  1832. 
It  was  exhibited  at  the  store  of  Mr.  A.  Paff,  a  picture-dealer  well  known  in  New  York  in 
the  beginning  of  the  century,  who  had  procured  it  from  the  artist  with  an  assurance  of  its 


Christian  Giilager.  5  7 

originality.  Paff  afterwards  disposed  of  it  to  a  hair-dresser  named  Saunders,  who,  wishing 
to  return  to  England,  offered  it  for  sale  ;  Mr.  Paff  publishing  in  "  The  Courier  and  En- 
quirer "  of  May  9,  1838,  a  certificate,  from  which  these  extracts  are  made:  — 

"This  portrait  was  my  property  for  upwards  of  twenty  years,  and  may  be  fresh  in  the  memory 
of  a  great  many,  as  it  was  exhibited  on  the  outside  of  my  door  every  Fourth  of  July  during  that 
period.  .  .  .  Mr.  Saunders  holds  a  certificate  of  its  originality  from  the  pencil  of  Christian  Giilager, 
—  an  artist  equal,  and  in  some  respects  superior,  to  Stuart,  —  in  which  it  is  said  to  have  been  taken 
in  two  sittings  while  the  general  was  on  his  last  visit  to  Boston,  and  was  at  that  time  pronounced  by 
the  intimate  friends  of  General  Washington  to  be  an  excellent  likeness." 

Another  notice  relating  to  it  appeared  in  "The  Evening  Star"  of  the  following  day:  — 

"An  Original  Portrait  of  Washington.  —  Many  persons  must  have  recollected  a  beautiful 
picture  of  Washington,  exhibiting  for  years  at  Saunders'  Divan  in  Broadway.  ...  It  is  with  great 
regret  we  learn  that  Saunders,  who,  after  so  long  and  undisputed  an  empire  over  our  heads  as  the 
most  scientific  of  hair-dressers,  is  about  to  leave  us  to  reside  in  his  native  country,  England,  and 
makes  the  regret  at  his  absence  enhanced  by  carrying  off  with  him  the  fine  painting  alluded  to. 
.  .  .  Among  those  who  bore  testimony  as  to  its  being  an  excellent  and  faithful  likeness  was  the  late 
General  Morton,  who  knew  General  Washington  intimately." 

That  Saunders  ,  did  not  find  a  purchaser  is  inferred  by  an  article  highly  eulogistic  of 
a  Washington  portrait  by  Giilager,  which  shortly  afterwards  appeared  in  "  The  London 
True  Sun." 

A  portrait  of  Washington  by  Giilager  is  said  to  have  been  destroyed  at  a  fire  in  New- 
York  City.    If  this  is  so,  it  was  probably  a  copy  made  from  his  first  sketch. 


ARCHIBALD  ROBERTSON. 


SCOTLAND. 

1765-1835. 

(^w^v,[HEN  the  thirteen  States  were  bound  into  a  nation  by  the  adoption  of  the 
Federal  Constitution,  the  sympathy  and  interest  of  Europe  were  practically 
expressed  in  all  useful  and  educational  avenues.  Among  the  eminent  teachers 
who  came  to  reside  in  the  "  infant  States,"  as  they  were  affectionately  termed, 
was  Dr.  James  Kemp  of  Marischal  College,  Aberdeen.  At  the  suggestion  of  Chancellor 
Livingston  and  others,  Dr.  Kemp  wrote  to  his  friend,  Rev.  Dr.  Gordon  of  King's  College, 
Old  Aberdeen,  asking  him  to  procure  the  services  of  a  suitable  professor  of  the  arts  of 
design.  In  compliance,  an  offer  was  made  to  Archibald  Robertson,  a  young  artist  of 
Aberdeen.  He  had  studied  with  Reynolds  and  West,  attracting  attention  at  the  court 
of  St.  James,  where  his  paintings  of  scenes  from  Ossian  were  particularly  approved  ;  and, 
though  not  yet  thirty,  he  was  called  the  "  Reynolds  of  Scotland." 

When  it  became  known  that  he  intended  to  remove  to  America,  the  Earl  of  Buchan 
requested  an  interview  with  him  at  Edinburgh,  and  gave  him  a  letter  of  introduction  to 
President  Washington  ;  also  intrusting  to  him  the  famous  "  Wallace  Box,"  accompanied 
with  a  request  that  the  artist  should  be  permitted  to  paint  a  portrait  of  Washington  for 
the  earl. 

Robertson  reached  New  York  on  the  2d  of  October,  1 79 1 ,  and  was  soon  followed  by 
his  two  brothers,  Andrew  and  Alexander.  They  opened  a  school  and  studio  at  79  Liberty 
Street ;  and  for  forty  years  these  Scotch  artists  gave  conscientious  instruction  and  lectures 
on  painting,  sculpture,  engraving,  and  architecture.  Their  work  was  of  inestimable  advan- 
tage in  directing  the  tastes  of  the  metropolis  ;  and  one  of  their  most  gifted  pupils  was  John 
Vanderlyn. 

From  manuscript  kindly  furnished  by  the  family  of  the  artist,  we  quote  an  interesting 
description  of  his  first  interview  with  President  Washington  in  Philadelphia  :  — 

"  Although  familiarly  accustomed  to  intimate  intercourse  with  those  of  the  highest  rank  and 
station  in  my  native  country,  I  never  experienced  the  same  feelings  as  I  did  on  my  first  introduction 
to  the  American  Hero.    The  excitation  in  the  mind  of  the  stranger  was  evidently  obvious  to  Wash- 

58 


Archibald  Robertson. 


59 


ington  ;  for,  from  his  ordinary  cold  and  distant  address,  he  declined  into  the  most  easy  and  familiar 
intercourse  in  conversation,  with  a  view  to  disembarrass  his  visitor  from  the  agitation  excited  by  the 
presence  of  a  man  whose  exalted  character  had  impressed  him  with  the  highest  sentiments  of  respect 
and  veneration  for  such  lofty  virtue." 

The  President  introduced  the  artist  to  Mrs.  Washington  and  her  grandchildren,  and 
his  admiration  for  "  Lady  Washington "  is  expressed  in  no  measured  terms.  An  invita- 
tion to  a  family  dinner  followed ;  at  which  the  artist  says  that  the  general,  anxious  to 
familiarize  his  guest,  "  engrossed  most  of  the  conversation  at  the  table,  and  so  delighted 
the  company  with  humorous  anecdotes,  that  he  repeatedly  set  the  table  in  a  roar  of 
laughter."  In  his  account  of  the  dinner,  Mr.  Robertson  gave  a  diagram  of  the  table, 
which  shows  that  the  party  was  composed  of  "  Gen.  Washington,  Lady  Washington, 
Mrs.  Gen.  Green,  Miss  Helmer  Custis  (afterwards  Mrs.  Lewis),  Archibald  Robertson, 
Major  Jackson  (the  general's  private  secretary),  Col.  John  Trumbull,  Col.  Tobias  Lear  (the 
general's  public  secretary)." 

"The  dinner,  served  at  three  o'clock  in  the  afternoon,  was  plain,  but  suitable  for  a  family  in 
genteel  and  comfortable  circumstances.  There  was  nothing  specially  remarkable  at  the  table,  unless 
it  may  be  that  the  General  and  Mrs.  Washington  sat  side  by  side,  he  on  the  right  of  his  lady  ;  the 
gentlemen  on  his  right  hand,  and  the  ladies  on  his  left.  It  being  on  Saturday,  the  first  course  was 
mostly  of  Eastern  cod,  and  other  fresh  fish.  A  few  glasses  of  wine  were  drank  during  the  dinner, 
with  other  beverage.  The  whole  closed  with  a  few  glasses  of  sparkling  champagne  in  about  three- 
quarters  of  an  hour,  when  the  General  and  Col.  Lear  retired,  leaving  the  ladies  in  high  glee  about 
Lord  Buchan  and  the  Wallace  Box." 

When  Robertson  was  ready  to  execute  his  commission  for  the  earl,  he  spent  six 
weeks  at  the  executive  mansion.  He  deemed  it  advisable  (it  having  been  left  to  his  own 
discretion)  to  make  his  first  attempt  in  miniature  on  ivory,  and  in  water-colors.  At  the 
same  time  he  painted  a  miniature  of  Mrs.  Washington.  These  he  retained,  leaving  them 
"  to  remain  in  his  family  as  an  heir-loom,  and  memorial  of  his  veneration  for  the  great 
and  successful  champion  of  American  liberty."  They  have  descended  to  his  grand- 
daughters, Mrs.  C.  W.  Darling  of  Utica,  N.  Y.,  and  Mrs.  S.  M.  Mygatt  of  New- York 
City,  and  are  remarkable  for  their  beauty  and  finish  as  works  of  art,  and  are  considered 
as  among  the  finest  efforts  of  this  distinguished  artist.  After  succeeding  so  happily  in 
miniature,  Robertson  painted  a  large  portrait  in  oil,  corresponding  in  size  to  those  of  a 
collection  of  portraits  of  the  most  celebrated  characters  in  liberal  principles  and  in  useful 
literature,  in  the  possession  of  Lord  Buchan  at  Dryburgh  Abbey.  When  finished,  the 
portrait  received  Washington's  approval,  and  was  sent  to  Scotland  in  April,  1792,  in  care 
of  Col.  Lear,  being  welcomed  with  cordial  approbation  by  Lord  Buchan. 


60  Original  Portraits  of  Washington. 

Robertson  also  painted  in  oil;  on  a  slab  of  marble  nine  by  twelve  inches,  a  cabinet- 
miniature  of  Washington,  at  his  request,  while  staying  at  the  President's  mansion.  "  It  is 
a  half-length,  three-quarters  view,  coat  of  snuff-color,  with  an  exuberance  of  shirt-ruffle." 
The  loss  of  his  teeth  is  apparent,  but  given  in  more  delicate  lines  than  by  Stuart ; 
while  the  eyes,  like  those  of  Stuart's  portraits,  look  directly  at  the  spectator.  This  is 
a  highly-finished  work,  and  appears  as  soft  as  if  on  ivory.  It  is  now  owned  by  Mrs.  M. 
M.  Craft  of  New- York  City,  daughter  of  the  artist,  and  is  the  portrait  thus  noted  in 
Trumbull's  list:  "Robertson,  1792,  painted  one,  in  his  own  possession,  79  Liberty  Street, 
New  York."  Two  other  miniatures  of  Washington  were  painted  from  life  by  Robertson 
as  late  as  1796.  One  belongs  to  Edmund  Law  Rogers  of  Baltimore,  having  descended 
to  him  from  his  grandmother,  Mrs.  Elizabeth  Parke  Law,  who  married  a  son  of  Lord 
Ellenborough.  The  head  is  in  half-profile,  and  drawn  with  exceeding  skill.  The  dress  is 
the  Continental  uniform,  the  hair  powdered  and  worn  in  a  queue,  and  the  ribbon  tying  it 
is  visible  over  the  right  shoulder.  The  colors  are  so  fresh  and  beautiful,  that  it  might 
have  been  painted  within  the  present  year.  It  is  in  a  massive  gold  locket  about  four 
inches  long.  On  the  back,  within  a  rich  border  of  blue  enamel,  is  a  medallion  surrounded 
with  diamonds.  The  medallion  contains  interwoven  locks  of  the  hair  of  Gen.  and  Mrs. 
Washington. 

The  other  —  differing  from  the  former  in  size  (being  a  trifle  smaller),  and  in  the 
jewels  of  its  setting,  which  are  pearls  —  was  inherited  from  Mrs.  Martha  Peter  by  her 
daughter,  Mrs.  Beverly  Kennon. 

These  miniatures,  superb  relics  of  Washington,  were  wedding-gifts  presented  by  him 
to  his  wife's  grand-daughters.  One  of  the  young  ladies,  writing  to  Washington  to  inform 
him  of  her  approaching  marriage,  said,  "  It  is  the  dearest  wish  of  my  heart  to  have  your 
miniature  taken  expressly  for  me."  Washington  replied  that  he  would  gladly  comply  with 
her  request ;  but  he  doubted  that  it  was  "  the  dearest  wish  of  a  young  maiden  on  the 
eve  of  her  marriage  to  possess  an  old  gentleman's  picture." 

Robertson,  like  other  artists,  could  not  lose  his  nationality,  and  his  rendering  of 
Washington  is  of  a  decided  Scotch  type.  The  following  extract  from  an  article  written 
from  the  American  Academy  of  Fine  Arts  in  1824  indicates  the  esteem  in  which  his 
portraits  were  held  by  his  contemporaries. 

"  If  we  wish  to  behold  Washington  when  he  began  to  wane,  in  his  latter  years,  when  he  had 
lost  his  teeth,  but  with  full  vivacity  and  vigor  of  eye,  looking  at  the  spectator,  we  must  behold 
Robertson's  portrait  of  him." 

Col.  John  Trumbull,  at  the  date  of  the  publication  of  this  article,  was  president  of 
this  institution  ;   and  this  probably  was  his  own  opinion  so  generously  expressed.  Robert- 


Archibald  Robertson. 


son's  portraits  of  Washington  have  been  engraved  by  only  a  few  artists,  and  on  small 
plates.  In  1794-96  and  1818  they  were  published  abroad;  but  only  one  has  been  issued 
in  this  country,  and  that  was  published  by  Elias  Dexter  in  1866. 

With  the  exception  of  Wright,  no  artist  deserving  recognition  who  painted  Wash- 
ington is  so  little  known  as  Robertson. 

The  "  Wallace  Box,"  before  alluded  to,  sent  to  Washington  by  the  Earl  of  Buchan, 
was  given,  not  alone  as  a  courtesy  from  the  Scotch  noble,  but  was  a  compliment  by  the 
Liberals  of  Europe  to  the  man  who  had  succeeded  in  establishing  a  representative  civil 
government.  This  memorial  of  the  "Washington  of  Scotland"  was  presented  Jan.  4,  1 79 1 , 
and  attracted  a  great  deal  of  interest  at  the  time.  "  Its  size  was  about  four  inches  long, 
three  inches  broad,  and  two  inches  deep.  It  was  constructed  from  six  pieces  of  the  '  heart 
of  the  oak '  which  sheltered  Sir  William  Wallace  after  the  battle  of  Falkirk.  It  was  one- 
eighth  of  an  inch  thick,  finely  polished  outside,  and  the  whole  united  by  an  elegant  silver 
binding.  A  silver  plate  bore  this  inscription  :  '  Presented  by  the  Goldsmiths  of  Edinburgh 
to  David  Stuart  Erskine,  Earl  of  Buchan,  with  the  freedom  of  their  corporation,  by  their 
Deacon,  1 79  r ." 

The  following  letter  accompanied  the  gift :  — 

Dryburgh  Abbey,  June  28,  1791. 

Sir,  —  I  had  the  honor  to  receive  your  Excellency's  letter  relating  to  the  advertisement  of  Dr. 
Anderson's  periodical  publication  in  the  "  Gazette "  of  the  United  States ;  which  attention  to  my 
recommendation  I  feel  very  sensibly,  and  return  you  my  grateful  acknowledgments.  In  the  twenty- 
first  number  of  that  literary  miscellany  I  inserted  a  monitory  paper  respecting  America,  which  I 
flatter  myself  may,  if  attended  to  on  the  other  side  of  the  Atlantic,  be  productive  of  good  conse- 
quences. To  use  your  own  emphatic  words,  "May  that  Almighty  Being  who  rules  over  the  universe, 
who  presides  in  the  councils  of  nations,  and  whose  providential  aid  can  supply  every  human  defect," 
consecrate  the  liberties  and  happiness  of  the  American  people,  —  a  government  instituted  by  them- 
selves for  public  and  private  security  upon  the  basis  of  law,  and  equal  administration  of  justice, 
preserving  to  every  individual  as  much  civil  and  political  freedom  as  is  consistent  with  the  safety  of 
the  nation  ;  and  may  He  be  pleased  to  continue  your  life  and  strength  as  long  as  you  can  be  in  any- 
way useful  to  your  country. 

I  have  intrusted  this  sheet,  enclosed  in  a  box  made  of  the  oak  that  sheltered  our  great  Sir 
William  Wallace  after  the  battle  of  Falkirk,  to  Mr.  Robertson  of  Aberdeen,  with  the  hope  of  his 
having  the  honor  of  delivering  it  into  your  hands,  recommending  him  as  an  able  artist. 

This  box  was  presented  to  me  by  the  Goldsmith's  Company  at  Edinburgh,  of  whom,  feeling  my 
own  unworthiness  to  receive  this  magnificently  significant  present,  I  requested  and  obtained  leave 
to  make  it  over  to  the  man  in  the  world  to  whom  I  thought  it  most  justly  due.  Into  your  hands 
I  commit  it,  requesting  of  you  to  pass  it,  in  the  event  of  your  decease,  to  the  man  in  your  country 


62 


Original  Portraits  of  Washington. 


who  shall  appear  to  your  judgment  to  merit  it  best  upon  the  same  considerations  that  have  induced 
me  to  send  it  to  your  Excellency. 

I  am  with  the  highest  esteem  sir, 

Your  Excellency's  most  obedient  and  obliged  humble  servant, 

BUCHAN. 

Gen.  Washington,  President  of  the  United  States  of  America. 

P.S.  —  I  beg  your  Excellency  will  have  the  goodness  to  send  me  your  portrait,  that  I  may  place 
it  among  those  I  most  honor,  and  I  would  wish  it  from  the  pencil  of  Mr.  Robertson.  I  beg  leave 
to  recommend  him  to  your  confidence,  as  he  has  been  mentioned  to  me  favorably  by  my  worthy 
friend,  Professor  Ogilvie  of  King's  College,  Aberdeen. 

Gen.  Washington  returned  this  reply  :  — 

Philadelphia,  May  i,  1792. 

My  Lord,  —  I  should  have  had  the  honor  of  acknowledging  sooner  the  receipt  of  your  letter 
of  the  28th  of  June  last,  had  I  not  concluded  to  defer  doing  it  till  I  could  announce  to  you  the 
transmission  of  my  portrait,  which  has  just  been  finished  by  Mr.  Robertson  of  New  York,  who  has 
also  undertaken  to  forward  it.  The  manner  of  the  execution  of  it  does  no  discredit  to  the  artist,  of 
whose  skill  favorable  mention  has  been  made  to  me. 

I  was  further  induced  to  intrust  the  execution  to  Mr.  Robertson  from  his  having  informed  me 
that  he  had  drawn  others  for  your  lordship,  and  knew  the  size  which  best  suited  your  collection. 

I  accept  with  sensibility  and  with  satisfaction  the  significant  present  of  the  box  which  accom- 
panied your  lordship's  letter.  In  yielding  the  tribute  due  from  every  lover  of  mankind  to  the  patri- 
otic and  heroic  virtues  of  which  it  is  commemorative,  I  estimate  as  I  ought  the  additional  value 
which  it  derives  from  the  hand  that  sent  it,  and  my  obligation  for  the  sentiments  that  induced  the 
transfer. 

I  will,  however,  ask  that  you  exempt  me  from  compliance  with  the  request  relating  to  its  eventual 
destination.  In  an  attempt  to  execute  your  wish  in  this  particular,  I  should  feel  embarrassment  from 
a  just  comparison  of  relative  pretensions,  and  fear  to  risk  injustice  by  so  marked  a  preference. 

With  sentiments  of  truest  esteem  and  consideration, 

I  remain  your  lordship's  most  obedient  servant, 

G.  WASHINGTON". 

Earl  of  Buchan. 

After  the  death  of  Washington,  the  box  was  returned  in  accordance  with  this  request 
found  in  his  will:  — 

"To  the  Earl  of  Buchan  I  recommit  'the  box  made  of  the  oak  that  sheltered  the  brave  Sir 
William  Wallace  after  the  battle  of  Falkirk,'  presented  to  me  by  his  lordship  in  terms  too  flattering 
for  me  to  repeat,  with  a  request  '  to  pass  it,  in  the  event  of  my  decease,  to  the  man  in  my  country 


Archibald  Robertson. 


63 


who  should  appear  to  merit  it  best,  upon  the  same  conditions  that  have  induced  him  to  send  it  to 
me.'  Whether  easy  or  not  to  select  the  man  who  might  comport  with  his  lordship's  opinion  in  this 
respect  is  not  for  me  to  say  ;  but  conceiving  that  no  disposition  of  this  valuable  curiosity  can  be 
more  eligible  than  the  recommitment  of  it  to  his  own  cabinet,  agreeably  to  the  original  design  of 
the  Goldsmith's  Company  of  Edinburgh,  who  presented  it  to  him,  and  at  his  request  consented  that 
it  should  be  transferred  to  me,  I  do  give  and  bequeath  the  same  to  his  lordship, — and  in  case  of 
his  decease  to  his  heir,  —  with  my  grateful  thanks  for  the  distinguished  honor  of  presenting  it  to 
me,  and  more  especially  for  the  favorable  sentiments  with  which  he  accompanied  it." 

Buchan  again  sent  the  box  to  America,  this  time  by  the  hands  of  Dr.  Nathaniel 
Chapman  of  Alexandria,  Va.  Just  before  his  departure  he  was  entertained  by  the  earl  at 
a  public  breakfast  on  Washington's  birthday,  when  the  souvenir  was  delivered  to  him,  with 
the  request  that  he  would  present  it  to  Dr.  Benjamin  Rush.  A  letter  from  that  gentleman 
to  the  donor  further  explains :  — 

Philadelphia,  Oct.  22,  1806. 

My  Lord,  —  I  have  been  kept  from  answering  your  lordship's  polite  letter  by  Dr.  Chapman  by 
a  most  unpleasant  event.  On  his  way  from  New  York  to  Philadelphia  his  trunk  was  stolen  from 
the  external  and  back  part  of  a  stage-wagon,  and  with  it  the  present  of  the  ancient  and  very  esti- 
mable box  you  intended  for  me.  In  hopes  that  an  advertisement,  or  the  lapse  of  a  year  or  two, 
would  bring  it  to  light,  and  place  it  in  my  hands,  I  have  deferred  until  this  time  expressing  my 
regrets  to  your  lordship  for  my  disappointment  and  loss.  The  virtues  and  exploits  of  the  illustrious 
hero  who  conferred  dignity  upon  the  tree  that  sheltered  him,  the  antiquity  of  the  box,  and  the  rank 
and  character  of  the  valuable  donor,  all  concur  to  render  its  loss  peculiarly  distressing  to  me.  I 
shall  carefully  preserve  your  lordship's  letter  which  accompanied  it,  and  transmit  it  to  my  children 
as  a  mark  of  the  high  honor  intended  for  me  by  your  lordship.  .  .  . 

With  great  respect  I  have  the  honor  to  be  your  lordship's  most  devoted  friend  and  most  obedient 
humble  servant, 

BENJN  RUSH. 

The  Right  Honble  the  Earl  of  Buchan. 


JOHN  TRUMBULL. 


CONNECTICUT. 
1756-1843. 

O  artist  had  closer  relations  with  Washington  than  his  young  friend  and  aide. 
Col.  John  Trumbull,  son  of  the  provident  governor  of  Connecticut,  upon 
whom  Washington  humorously  and  affectionately  transferred  the  now  typical 
sobriquet  of  "  Brother  Jonathan." 
To  no  one  could  it  have  been  more  a  labor  of  love  to  portray  the  chief  than  to  the 
patriot  artist,  who  was  so  often  by  his  side  in  the  earlier  part  of  the  struggle  for  inde- 
pendence, who  in  a  foreign  land  had  suffered  for  the  common  cause,  and  who  was  inti- 
mately associated  as  an  honored  guest  when  Washington  became  President.  The  advantages 
found  in  familiar  acquaintance  Trumbull  possessed  even  more  than  Charles  Willson  Peale. 

Col.  Trumbull  descended  on  his  mothers  side  from  that  sterling  old  English  gentle- 
man and  scholar,  John  Robinson,  "  Father  of  the  Pilgrims."  Every  educational  opportunity 
was  given  him;  and  in  1773,  as  his  fathers  had  done,  he  graduated  with  honor  at  Harvard. 
He  was  distinguished  for  proficiency  in  the  languages,  and  evinced  talent  as  a  draughts- 
man. It  appears  that  during  his  college-days  he  had  selected  an  artistic  career  in  place 
of  the  Church,  for  which  his  father  had  intended  him,  and  to  which  it  was  presumed  his 
Puritan  blood  would  naturally  incline. 

When  the  colonial  governor  of  Connecticut,  in  1775,  called  out  troops  to  be  sent  to 
Boston,  he  found  that  three  of  his  own  sons  —  Jonathan,  Joseph,  and  John  —  donned 
the  uniform  of  the  "  blue  and  the  buff."  They  gained  distinction  as  officers,  and  were 
destined  to  leave  a  worthy  record  in  the  annals  of  their  country.  At  Cambridge,  John 
attracted  the  attention  of  Washington  by  drawings  of  the  enemy's  camp,  the  correctness 
of  which,  even  before  their  completion,  was  attested  by  a  deserter  from  the  British  army. 
Washington  at  once  appointed  him  on  his  staff,  of  which  his  elder  brother  was  already 
chief.  He  served  until  his  transfer  to  the  division  of  Gen.  Gates,  on  whose  staff  he  was 
appointed  assistant  adjutant-general,  with  the  rank  of  colonel.  Becoming  dissatisfied  with 
Gen.  Gates,  he  retired  to  private  life  in  1777.    During  some  portions  of  the  next  three 

years  he  was  the  pupil  of  Copley.    It  is  humorously  related  that  the  young  officer,  having 
64 


John  Trumbull. 


See  Page  70 


i 


John  Trumbull. 


65 


seen  the  luxury  and  state  of  Copley  in  Boston  in  1775,  was  more  than  ever  determined  to 
be  an  artist.  In  1780  he  went  to  London  to  study  with  "West,"  having  been  assured  by 
influential  citizens  of  London  that  he  would  not  be  disturbed  in  England  while  pursuing 
his  studies.  The  execution  of  Andre,  however,  so  influenced  the  public  mind,  that  an 
officer  so  devoted  to  America  as  Col.  Trumbull  could  not  escape ;  and  he  was  arrested, 
and  taken  before  a  magistrate.  His  high  spirit  resented  the  bungling  proceedings,  which 
he  interrupted  with  — 

"  Gentlemen,  you  are  rude.  You  appear  to  be  more  in  the  habit  of  examining  pickpockets  and 
highwaymen  than  gentlemen.  I  will  cut  this  examination  short,  gentlemen,  by  telling  you  who  I 
am  and  what  I  am.  I  am  the  son  of  him  you  call  the  rebel  governor  of  Connecticut,  and  I  have 
been  aide-de-camp  to  him  you  call  the  rebel  Washington.  I  know  that  in  saying  this  I  put  my  life 
in  your  hands.  You  will  treat  me  as  you  please,  remembering  that  as  you  treat  me  so  will  those 
gentlemen  whom  I  have  named  treat  your  countrymen  who  are  their  prisoners  and  in  their  power." 

He  was  confined  in  prison,  so  that  by  suffering  as  well  as  service  this  artist  must  be 
enrolled  as  one  of  the  heroes  of  the  Revolution.  Benjamin  West  hastened  to  George  III. ; 
and  it  is  possible  that  his  timely  interference  saved  Trumbull's  life,  who  thus  related  the 
event : — 

"I  was  arrested  at  twelve  o'clock  at  night  of  the  19th  of  November,  in  London,  on  suspicion 
of  high  treason.  I  was  then  principally  occupied  in  studying  the  art  of  painting  under  Mr.  West. 
Mr.  West  well  knew  that  his  attachment  to  his  native  country  gave  offence  to  some  individuals  who 
were  about  the  King's  person.  He  therefore  went  the  next  morning  early  to  Buckingham  House, 
and  requested  an  audience  of  the  King.  It  was  granted  ;  and  he  proceeded  to  state  the  origin  and 
nature  of  his  acquaintance  with  me,  concluding,  that,  whatever  might  have  been  my  conduct  in 
America,  he  could  conscientiously  state  to  his  Majesty,  that,  since  my  arrival  in  London,  the  principal 
part  of  almost  every  day  had  been  passed  under  his  eye,  in  the  assiduous  study  of  his  profession, 
leaving  little  or  no  time  for  any  pursuit  hostile  to  the  interests  of  Great  Britain.  The  King,  after 
a  moment's  hesitation,  made  this  answer :  '  Mr.  West,  I  have  known  you  long.  I  have  confided  in 
you.  I  have  never  known  you  to  mislead  me.  I  therefore  repose  implicit  confidence  in  the  repre- 
sentation. This  young  gentleman  must  in  the  mean  time  suffer  great  anxiety.  He  is  in  the  power 
of  the  laws,  and  I  cannot  at  present  interfere.  But  go  to  him,  and  assure  him  from  me,  that,  in  the 
worst  possible  legal  result,  he  has  my  royal  word  that  his  life  is  safe.'  Mr.  West  came  to  me  with 
this  message  immediately ;  and  you  may  well  believe  that  it  softened  essentially  the  rigor  of  an 
imprisonment  of  eight  months." 

Mr.  Trumbull  was  admitted  to  bail  on  a  special  order  from  the  King,  —  his  sureties 
being  West  and  Copley, — on  condition  that  he  would  leave  the  country,  and  not  return 
during  the  war.    Trumbull  continued  his  studies  in  prison  ;   and  it  adds  interest  to  the 


66  Original  Portraits  of  Washington, 

fine  copy  (after  West)  of  Correggio's  "  St.  Jerome  of  Parma,"  to  recall  the  fact  that  "  it 
was  painted  in  Tothill  Field's  Prison  near  London,  where  the  artist  was  confined  on 
charge  of  high  treason  during  the  winter  of  1781." 

After  the  establishment  of  peace,  he  returned  to  his  studies  under  Mr.  West,  and  in 
1784  produced  his  first  composition.  His  first  two  works  of  importance,  which  he  never 
afterwards  surpassed  in  excellence,  were  produced  in  the  following  year.  These  were  the 
"  Death  of  Montgomery "  and  the  "  Battle  of  Bunker  Hill."  The  last  picture  gave 
offence  in  London ;  and,  to  remove  this  feeling,  he  chose  a  subject  more  essentially 
English,  and  painted  the  "  Sortie  of  the  Garrison  at  Gibraltar,"  which  was  exhibited,  and 
gave  great  satisfaction.  The  artist  must  have  been  inexpressibly  surprised  to  discover 
that  the  "Battle  of  Bunker  Hill"  also  offended  his  own  countrymen.  The  reason  given 
was,  that  he  had  chosen  the  moment  of  the  triumph  of  the  British  arms,  and  did  not 
perpetuate  the  gallant  attack  of  the  Continental  militia.  We  in  our  day  might  as  well 
object  to  the  Bunker-hill  Monument.  However,  there  must  be  a  change  in  this  senti- 
ment, not  only  because  of  the  rare  excellence  of  the  painting,  but  that  the  time  selected 
was  the  right  time,  —  the  supreme  moment  when  a  brave  man  yielded  up  his  life  for  a 
sacred  cause. 

In  1787-88  Trumbull  began  to  make  life-studies  for  his  intended  series  of  historical 
paintings.  It  would  have  been  better  for  his  fame  if  he  had  steadily  pursued  this 
project,  —  sufficient  for  a  life-work.  He  made  portraits  of  Mr.  Adams  in  London,  and 
Mr.  Jefferson  in  Paris,  at  whose  house  he  also  had  sittings  from  French  officers  who 
had  served  in  America.  He  returned  to  New  York  in  1789;  and,  Congress  being  in 
session,  he  made  studies  from  the  representative  men  of  the  nation  there  assembled.  To 
secure  life-sittings  from  all,  however,  he  travelled  through  each  State  in  the  Union.  We 
are  thus  particular  in  reiterating  this  well-known  fact,  because  it  is  well  to  keep  before 
the  people  that  these  portraits  can  be  relied  upon.  Nearly  all  of  these  original  studies 
were  made  when  there  was  but  one  opinion  in  regard  to  the  success  of  Trumbull  in 
securing  a  good  counterfeit  of  life  on  his  canvas.  Though  the  four  large  paintings  in 
the  Rotunda  of  the  Capitol  at  Washington  are  not  executed  in  a  manner  to  enhance  the 
artist's  reputation,  yet  all  the  cruel  and  coarse  criticisms,  from  that  of  John  Randolph  to 
the  present  day,  cannot  make  the  American  people  forget  that  they  were  produced  by 
a  soldier-artist  who  gave  truthful  delineations  of  our  illustrious  defenders ;  and  that  he 
has  left  us  in  the  originals  of  these  productions  an  inheritance  painted  ere  his  hand 
faltered,  or  his  eye  had  grown  untrue.  Therefore  the  historical  paintings  of  Trumbull 
must  be  considered  a  gallery  of  original  portraits,  and  may  well  entitle  him  to  be  styled 
"  The  Painter  of  the  Revolution." 

Col.  Trumbull,  as  an  amateur,  made  studies  of  Washington  while  on  his  staff,  in 


jfohn  Trumbull. 


67 


1775;  and  in  1780,  while  studying  under  West,  he  painted  for  M.  de.  Neufville  a  portrait 
from  memory,  aided  by  these  sketches.  This  was  a  most  dramatic  and  unfortunate  effort. 
In  17S1  M.  de  Neufville  allowed  an  engraving  of  it  to  be  made,  which  was  thus 
inscribed  :  — 

"Painted  by  J.  Trumbull,  Esqr  of  Connecticut  1780.  Engraved  by  V.  ^reen  Mezzotinto 
Engraver  to  his  Majesty  &  to  the  Elector  Palatine.  Engrav'd  from  the  original  Picture  in  the 
Possession  of  M.  de  Neufville  of  Amsterdam.  Published  by  Appointment  of  M.  de  Neufville  of 
Amsterdam  Jany  Ifjth  1/8 1  by  V.  Green  N°  2g  Newman  Street  Oxford  Street  London." 

\ 

The  figure  of  Washington,  though  not  badly  drawn  for  an  unpractised  pencil,  is 
grotesquely  heroic.  He  is  on  the  heights  of  Charlestown,  and  appears,  by  his  daring 
strides,  to  be  scaling  a  mountain-side.  The  face  is  that  of  an  immature  youth ;  and 
behind  him  stands  his  well-known  attendant,  Billy  Lee,  holding  a  warlike  steed.  The 
face  of  the  groom  is  the  only  redeeming  point  on  the  canvas:   he  is  trttly  "  L '  Africain." 

Unhappily,  this  print  was  extensively  circulated  abroad ;  and  for  years  it  was  the 
popular  idea  of  Washington  received  in  Europe,  its  effect  upon  French  artists  being 
especially  traced.  A  notable  instance  of  this  is  a  painting  by  Le  Paon,  "  Peintre  de 
Battaille  de  S.  A.  S.  M.  le  Prince  de  Conde,"  as  seen  in  an  engraving  of  it  by  Le  Mere, 
which  was  made  for  the  Academy  of  Fine  Arts,  Rouen,  France.  The  head  in  this 
picture  is  an  exact  reproduction  of  Trumbull's  Amsterdam  portrait.  Washington  stands 
at  his  tent-door,  holding  in  his  hand  several  scrolls,  inscribed  "  Declaration  of  Inde- 
pendence," "Treaty  of  alliance  with  his  most  Christian  Majesty,  Louis  XVI.,  Feb.  6th 
1778,"  etc.;  while  under  his  feet  are  offensive  acts  of  the  British  Government.  Another 
feature  indicating  Trumbull's  authority  is  Billy  Lee,  who,  comically  metamorphosed  into  a 
Moor  with  a  gayly-twisted  turban,  appears  in  the  background  holding  a  bobtailed  horse. 

Billy  Lee  gained  a  happier  immortality  through  this  clause  in  his  master's  will:  — 

"And  as  to  my  mulatto  man  William,  calling  himself  William  Lee,  I  give  immediate  freedom; 
or,  if  he  should  prefer  it  (on  account  of  the  accidents  which  have  befallen  him,  and  which  have 
rendered  him  incapable  of  walking,  or  of  any  active  employment),  to  remain  in  the  situation  he  now 
is,  it  shall  be  optional  in  him  to  do  so :  in  either  case,  however,  I  allow  him  an  annuity  of  thirty 
dollars  during  his  natural  life,  which  shall  be  independent  of  the  victuals  and  clothes  he  has  been 
accustomed  to  receive,  if  he  chooses  the  last  alternative,  but  in  full,  with  his  freedom,  if  he  prefers 
the  first.  And  this  I  give  him  as  a  testimony  of  his  attachment  to  me,  and  for  his  faithful  services 
during  the  Revolutionary  War." 

It  is  recorded  that  Billy  wisely  preferred  "  victuals  and  clothes  "  at  Mount  Vernon  to 
"  immediate  freedom." 


68  Original  Portraits  of  Washington. 

The  Trumbull  painting  is  still  in  Amsterdam,  but,  having  recently  been  offered  for 
sale  to  an  American,  will  doubtless,  sooner  or  later,  be  sent  to  this  country. 

Trumbull  did  not  again  attempt  a  portrait  of  Washington  for  twelve  years.  In  the 
winter  and  spring  of  1790  his  life  studies  of  the  President  were  chiefly  made.  Washington 
records  in  his  diary,  as  follows,  a  number  of  consecutive  sittings  given  Mr.  Trumbull  in 
less  than  one  month  :  — 

"  Wednesday,  10th  (JFcby  1 790).  —  Sat  from  9  until  1 1  o'clock  for  Mr.  Trumbull,  to  draw  my 
picture  in  his  historical  pieces. 

"  Friday,  12th.  —  Sat  from  9  o'clock  until  11,  for  Mr.  John  Trumbull,  for  the  purpose  of  drawing 
my  picture. 

"Monday,  15th. — Sat  between  9  and  11,  for  Mr.  John  Trumbull. 
"Thursday,  18th.  —  Sat  for  Mr.  Trumbull  from  9  o'clock  till  10. 
"Saturday,  20th.  —  Sat  from  9  until  11,  for  Mr.  Trumbull. 
"  Saturday,  2Jik.  —  Sat  for  Mr.  Trumbull  this  forenoon. 

"March  1790.  Monday,  Ist. — Exercised  on  horseback  this  forenoon,  attended  by  Mr.  John 
Trumbull,  who  wanted  to  see  me  mounted. 

"  Thursday,  4th.  —  Sat  from  9  until  half  after  10  o'clock  for  Mr.  Trumbull." 

Illustrative  of  the  interest  bestowed  by  Washington  on  these  paintings  is  the  fact  that 
he  was  induced  to  put  on  the  long-disused  Continental  uniform,  and  ride  out  upon  a 
spirited  horse  with  Mr.  Trumbull,  that  he  might  take  a  sketch  for  his  painting  of  the 
"  Capture  of  the  Hessians  at  Trenton,"  on  which  occasion  his  warlike  appearance  is  said 
to  have  produced  a  sensation  in  the  quiet  "  City  of  Brotherly  Love."  A  good  portrait 
was  obtained ;  and  on  the  canvas  was  recorded  an  incident  showing  the  magnanimity  of 
the  great  commander,  which  is  described  in  the  words  of  the  artist :  — 

"When  the  conflict  was  ended,  Gen.  Washington  walked  his  horse  over  the  field  to  see  that 
the  wounded  were  properly  attended  to.  Among  them  he  observed  an  officer  richly  dressed  in  the 
hostile  uniform,  and  upon  inquiry  found  that  this  was  Col.  Rahl,  commanding  officer  of  the  enemy. 
He  immediately  called  one  of  his  aides-de-camp,  Col.  William  Smith,  and  gave  this  memorable  order: 
'  Smith,  take  charge  of  this  gentleman  ;  see  him  carefully  and  kindly  conveyed  to  a  house  ;  call  our 
best  surgeons  to  his  assistance,  and  let  us  save  his  life  if  possible.'  Col.  Rahl  died  in  the  afternoon ; 
but  the  memory  of  this  act  should  never  die." 

One  of  the  most  popular  and  highly  prized  full-length  portraits  of  Washington  is  that 
painted  by  Trumbull,  now  in  the  City  Hall,  New  York,  in  compliance  with  the  following 
resolution :  — 


jfohn  Trumbull. 


69 


City  of  New  York,  ss. 

At  a  common  council  held  in  the  City  of  New  York  on  Monday,  the  19th  day  of  July 

1790. 

Present  : 


Resolved,  —  that  the  President  of  the  United  States  be  requested  to  permit  Mr.  Trumbull  to 
take  his  portrait  to  be  placed  in  the  City  Hall,  as  a  monument  of  the  respect  which  the  inhabitants 
of  this  city  bear  towards  him. 

Ordered,  —  that  Mr.  Mayor  be  requested  to  wait  on  the  President,  and  communicate  the  afore- 
going resolution. 

Extract  from  the  Minutes. 


The  artist  thus  describes  the  picture  :  — 

"I  represented  him  in  full  uniform,  standing  by  a  white  horse,  leaning  his  arm  upon  the  saddle; 
in  the  background  a  view  of  Broadway  in  ruins,  as  it  then  was,  the  old  fort  at  the  termination ; 
British  ships  and  boats  leaving  the  shore,  and  Staten  Island  in  the  distance.  Every  part  of  the 
detail  of  the  dress,1  horse,  furniture,  etc.,  as  well  as  the  scenery,  was  accurately  copied  from  the  real 
objects." 

About  eighteen  months  after  his  return  from  England,  Col.  Trumbull  received  an  order 
from  the  city  of  Charleston,  S.C.,  to  paint  a  full-length  portrait  of  Washington.  The 

1  One  of  the  two  watch-seals  which  are  copied  in  this  picture  was  given  by  Washington  to  Major  Robert  Smith 
of  Philadelphia.  He  was  an  officer  in  Aaron  Burr's  regiment,  and  was  afterwards  detached  on  engineer  duty,  building 
some  redoubts  on  the  Hudson  River.  The  seal,  on  which  is  the  monogram  "  R.  S.,"  has  been  inherited  by  his  grand- 
son, Robert  S.  La  Motte,  U.S.A. 


Richard  Varick,  Esquire,  Mayor. 
Samuel  Jones,  Esquire,  Recorder. 
Jeremiah  Wool,  Wynant  Van  Zandt, 
Isaac  Stoutenburgh,  Daniel  McCormick, 
Theophilas  Beekman,  John  Wylley, 
Stephen  McCrea,  John  Van  Dyk, 
John  Pintard,  William  J.  Elsworth, 
Peter  J.  Curtenius,  George  Paneway, 


ROB.  BENSON,  Clk. 


7o 


Original  Portraits  of  Washington. 


following  resolution  of  the  city  council  indicates  the  affection  in  which  the  man  and  the 
leader  were  held. 

City  Council,  Saturday,  the  7th  May,  1791. 

On  motion  ; 

Resolved  unanimously,  that  his  Honor  the  Intendant  in  behalf  of  the  City  Council  and  their 
constituents,  be  desired  to  request  of  George  Washington,  Esquire,  President  of  the  United  States, 
that  he  will  be  pleased,  when  it  is  convenient  to  him,  to  permit  his  portrait  to  be  taken  by  Colonel 
Trumbull,  in  order  that  it  may  be  placed  in  the  City  Hall,  as  the  most  lasting  testimony  of  their 
attachment  to  his  person,  to  commemorate  his  arrival  in  the  Metropolis  of  this  State,  and  to  hand 
down  to  posterity  the  resemblance  of  the  man  to  whom  they  are  indebted  for  the  blessings  of  Peace, 
Liberty  and  Independence. 

Extract  from  the  Journals. 

PET.  BOUNETHEAU, 

City  Clei-k. 

The  artist  selected  the  field  of  Trenton  on  which  to  present  his  hero  in  the  full 
glory  of  military  fame.  The  subject  seemed  in  happy  sympathy  with  the  painter ;  as, 
indeed,  he  had  on  more  than  one  occasion  indicated  his  preference  of  being  delineated  as 
the  defender  of  his  country.  When  this  painting  was  completed,  it  was  enthusiastically 
approved  by  Washington.  He  perhaps  expressed  more  pleasure  than  he  had  ever  before 
done  over  an  artist's  efforts  to  produce  his  counterpart.  It  is  abundantly  testified  by 
contemporaries,  that  the  figure  was  rendered  with  happiest  fidelity.  Authorities  agree  in 
pronouncing  this  the  most  trustworthy  type  of  that  majestic  form,  yielding  to  it  even  the 
precedence  over  Houdon  ;  Trumbull  being  essentially  American,  while  Houdon  could  not 
depart  from  his  ideas  of  kingship,  and  has  given  to  Washington  the  bearing  of  a 
Bourbon  prince. 

The  minutest  detail  of  costume  must  also  be  received  as  accurate  ;  as  every  article  of 
dress  —  buttons,  spurs,  etc.  —  was  painted  from  those  worn  at  the  battle  of  Trenton.  The 
background  is  very  elaborate.  Near  Washington  stands  an  attendant  with  his  horse ; 
farther  on  are  the  bridges  and  the  old  stone  mill,  with  the  artillery  for  their  defence. 
The  river  is  discovered  at  several  points ;  and  the  fires,  by  which  the  enemy  were 
deceived,  are  already  lighted.  The  hour  is  just  before  sunset ;  and  at  the  suggestion 
of  Washington  several  incidents  of  that  eventful  evening  are  introduced. 

The  likeness  is  not  only  approved,  but  the  expression  is  heroic ;  and  the  painting  is 
spirited,  and  altogether  worthy  the  great  occasion. 

Strange  to  say,  the  citizens  of  Charleston  did  not  accept  this  doubly  valuable  work, 
but  ordered  instead  a  portrait  of  "  Washington  the  President."  Mr.  Trumbull  in  his 
autobiography  says,  — 


John  Trumbull, 


See  Page  71. 


jfohn  Trumbull.  71 

"Oppressed  as  the  President  was  with  business,  I  was  reluctant  to  ask  him  to  sit  again.  I, 
however,  waited  upon  him,  stated  Mr.  Smith's  objection,  and  he  cheerfully  submitted  to  a  second 
penance,  adding,  •  Keep  this  picture  for  yourself,  Mr.  Trumbull,  and  finish  it  to  your  own  taste.' 
I  did  so.  Another  was  painted  for  Charleston  agreeable  to  their  taste, — a  view  of  the  city  in  the 
background,  a  horse,  with  scenery,  and  plants  of  the  climate." 

The  military  picture  "  remained  in  the  possession  of  Col.  Trumbull  until  the  dissolu- 
tion of  the  Society  of  the  Cincinnati  of  Connecticut,  when  his  Excellency  Gov.  Trumbull, 
Gen.  Jedediah  Huntington,  the  Hon.  John  Davenport,  the  Hon.  Jeremiah  Wadsworth, 
and  the  Hon.  Benjamin  Talmadge,  joined  with  him  in  presenting-  it  to  Yale  College." 

Trumbull  took  the  portrait  to  London  when  he  was  secretary  of  legation  under  John 
Jay;  and  a  fine  engraving  (now  rare)  was  made  by  Thomas  Cheesman  in  1796,  under  the 
supervision  of  the  painter.    One  of  these  prints  hung  in  the  main  hall  at  Mount  Vernon. 

The  bust-portrait  of  Washington  now  in  the  Trumbull  Collection  at  Yale  College 
was  executed  in  1793  in  Philadelphia,  and  is  m  truth  the  only  one  that  can  with  justice 
be  condemned.  In  the  same  year  the  President  allowed  him  sittings  in  the  executive 
mansion  to  fill  the  order  from  Charleston.  Trumbull  was  well  satisfied  with  this  work, 
and  went  so  far  as  to  commend  it  to  the  special  care  of  Charles  Fraser,  the  artist  of 
Charleston,  as  one  of  the  best  works  of  his  brush.  An  amusing  incident  is  related  in 
connection  with  this  guardianship.  At  Mr.  Fraser's  suggestion,  the  intendant  of  the  city 
ordered  the  canvas  to  be  cleaned,  an  experienced  person  being  intrusted  with  the 
responsible  duty.  The  artist's  surprise  may  be  imagined,  when,  on  his  return  from  a 
short  absence,  he  found  that  a  zvig  had  been  painted  upon  the  head  of  Washington. 
Happily  he  soon  remedied  the  mischief  done  by  the  ambitious  1'cstorer,  by  removing  the 
fresh  paint.  At  a  recent  visit  to  Charleston,  the  Hon.  Robert  C.  Winthrop  expressed 
great  interest  in  this  portrait ;  and  by  his  advice  it  was  sent  to .  Boston,  where  it  will  be 
thoroughly  restored.  It  was  shipped  to  his  care,  and  placed  in  the  Boston  Museum  of 
Fine  Arts. 

Cabinet-portraits  of  the  General  and  Mrs.  Washington  •  were  painted  by  Col.  Trumbull 
in  1794.  These  portraits  were  the  property  of  Mrs.  Lawrence  Lewis,  and,  having  recently 
been  purchased  by  the  United-States  Government  from  her  grandchildren,  are  now 
deposited  in  the  patent-office. 

Soon  after  his  return  to  this  country  in  1790,  he  painted  from  life  a  full-length 
cabinet-portrait  for  the  family  at  Mount  Vernon.  This  work  was  executed  as  a  special 
gratification  to  Mrs.  Washington,  and  has  been  most  carefully  preserved.  It  was  be- 
queathed by  Martha  Washington  to  her  grand-daughter,  Mrs.  Elizabeth  Custis  Law, 
and  has  descended  to  Mrs.  Law's  grandson,  Edmund  Law  Rogers  of  Baltimore,  Md. 


72 


Original  Portraits  of  Washington. 


Mrs.  Law  left  it  in  care  of  her  brother,  G.  W.  P.  Custis,  until  her  grandson  should  attain 
his  majority. 

Trumbull  has  also  given  acceptable  likenesses  of  Washington,  both  in  the  "  Sur- 
render of  Lord  Cornwallis,"  and  "  Washington  resigning  his  Commission  at  Annapolis." 
The  originals  are  in  the  Trumbull  Collection  at  New  Haven ;  of  which  the  large  repro- 
ductions in  the  Rotunda  of  the  Capitol  at  Washington  are  well  known  to  the  world. 

Though  a  capable  draughtsman,  Trumbull  was  occasionally  careless ;  yet  he  worked 
with  system.  The  first  studies  of  his  large  compositions,  like  those  of  his  instructor, 
West,  were  completely  finished  on  small  cards,  and  then  transferred  to  the  canvas.  Of 
his  "Sortie  of  the  Garrison  of  Gibraltar"  he  made  first  a  small,  perfectly  finished  work, 
which  he  gave  to  West.  The  first  study  of  the  "  Death  of  Montgomery,"  on  a  card  not 
four  inches  square,  but  perfectly  elaborated,  is  owned  by  Major  Lewis  of  Virginia.  It 
bears  this  inscription:  "J.  Trumbull  to  Nelly  Custis,  1790." 

In  1794  Col.  Trumbull  made  his  third  journey  to  England,  this  time  as  secretary  to 
John  Jay.  Soon  after,  he  was  chosen  to  be  the  fifth  commissioner  under  Jay's  treaty, — 
quite  a  different  situation  from  that  in  Tothill-Field's  Prison  fourteen  years  previous. 
This  place  of  emolument  and  honor  was  merited  by  the  man  ;  but  the  artist  never  agrin 
painted  so  well.  He  had  accepted  Mr.  Jay's  offer,  that  he  might  have  opportunity  of 
publishing  a  series  of  engravings  from  his  works.  He  had  been  quite  successful  in  the 
United  States  in  obtaining  subscriptions  for  his  intended  enterprise  ;  and  for  the  engrav- 
ings of  the  "Death  of  Montgomery"  and  the  "Battle  of  Bunker  Hill"  he  had  secured 
two  hundred  and  seventy  subscribers  at  three  guineas  each.  Copies  of  these  engravings 
hung  at  Mount  Vernon  at  the  time  of  Washington's  death ;  and  their  arrival  from 
England  is  noted  in  this  letter  to  the  second  governor,  Jonathan  Trumbull ;  a  copy  of 
which  was  recently  presented  to  the  Ladies'  Mount  Vernon  Association  by  the  vice-regent 
from  New  York  :  — 

Mount  Vernon  6*  Feby  1799. 

My  dear  Sir, —  By  the  ship  Nancy,  from  London,  just  arrived  at  Alexandria,  I  have  received 
four  copies  of  the  Prints  of  the  Deaths  of  Montgomery  &  Warren,  (the  number  of  Setts  I  presume 
I  subscribed  for,)  sent  me  by  your  Brother. 

It  is  my  wish  to  make  him  a  remittance  agreeably  to  the  terms  of  the  subscription ;  but 
having  taken  no  copy  of  it,  and  not  being  able  to  recollect  what  is  left  to  pay,  must  be  my  apology 
for  troubling  you  with  this  letter  ;  presuming  that  the  original  paper,  or  a  copy  thereof,  might  have 
been  left  with  you  ;  and  moreover,  that  you  may  be  empowered  to  receive  from  the  Subscribers  in 
the  United  States,  the  amount  of  their  Subscriptions ;  in  which  case,  upon  receiving  the  advice,  I 
shall,  instead  of  making  the  remittance  of  mine  to  London,  transmit  it  to  you.  Whether  anything 
was  to  have  been  paid  in  advance,  &  whether  in  that  case,  I  paid  mine,  is  more  than  I  can  decide 
without  a  resort,  (for  the  letter)  to  my  papers  from  Philadelphia,  which  are  yet  to  be  unpacked  and 
arranged. 


John  Trumbull. 


73 


By  a  paper  accompanying  the  prints  of  Montgomery  &  Warren,  the  other  part  of  the  original 
design  is  suspended,  on  account  of  the  peculiarity  of  the  times. 

As  I  shall  not  write  to  Mr.  Trumbull  until  I  hear  from  you,  the  sooner  you  can  make  it 
convenient  to  give  me  the  information  herein  required,  the  more  agreeable  it  will  be. 

I  enquire  frequently  after  you,  &  with  pleasure  hear  always  that  you  enjoy  good  health. 
Mrs.  Washington,  wbo  is  as  well  as  usual,  &  Nelly  Custis,  who,  on  my  birthday,  (the  22nd  instant) 
will  change  her  name  for  that  of  Lewis,  a  nephew  of  mine,  and  brother  to  those  who  lived  with 
me  in  New  York  &  Philadelphia,  unite  in  best  wishes  &  respectful  compliments  to  Mrs.  Trumbull 
&  yourself  with 

My  dear  Sir, 

Yr  most  Obed'  &  affect.  Ser1 

G°  WASHINGTON. 

His  Excelh  Jonathan  Trumbull. 

Wealth  and  honor  attended  Col.  Trumbull,  and  he  was  the  recipient  of  all  social 
favors;  married  abroad,  and  remained  until  1816;  when,  having  experienced  reverses,  he 
came  back  to  America  a  soured  and  disappointed  man.  He  became  embroiled  in  contro- 
versies with  congressmen  in  regard  to  his  commissions  from  the  government,  and  some 
bitter  correspondence  is  unhappily  left  on  record.  Notwithstanding  this,  he  never  lost  his 
interest  in  the  art-future  of  his  country,  as  we  learn  by  this  letter  to  President  Adams, 
which  is  not  the  least  valuable  of  his  legacies  :  — 

Washington,  25th  December,  1826. 

To  the  President  of  the  United  States. 

Sir,  —  I  beg  permission  to  submit  to  your  consideration  the  following  plan  for  the  encourage- 
ment of  the  fine  arts  in  the  United  States.  Public  protection  has  already  been  extended  in  a  very 
effectual  manner  to  various  branches  of  the  public  industry  employed  in  manufactures  of  different 
kinds  ;  and  I  wish  to  call  the  attention  of  the  government  to  the  fine  arts,  which,  although  hitherto 
overlooked,  may,  I  trust,  be  rendered  a  valuable,  as  well  as  an  honorable,  branch  of  the  national 
prosperity,  by  very  simple  and  unexpensive  means. 

I  would  propose  that  whenever  an  event  —  political,  naval,  or  military  —  shall  occur,  which  shall 
be  regarded  by  the  government  as  of  sufficient  importance  to  be  recorded  as  matter  of  history,  the 
most  eminent  painter  of  the  time  be  ordered  to  paint  a  picture  of  the  same,  to  be  placed  in  some 
of  the  national  buildings  ;  that  an  artist  of  secondary  talent  be  employed  to  make  a  copy  of  the 
same,  which  shall  be  given  to  the  minister,  admiral,  or  general  under  whose  direction  or  command 
the  event  shall  have  taken  place,  as  a  testimony  of  the  approbation  and  gratitude  of  the  nation. 

It  appears  to  me  that  this  would  operate  as  a  powerful  stimulus  to  the  ambition  and  exertions 
of  the  national  servants  in  their  various  departments,  as  well  as  an  effectual  encouragement  to 
artists,  and  an  honorable  mode  of  exciting  their  unremitting  endeavors  to  attain  to  the  highest 
possible  degree  of  eminence. 

I  would  next  propose,  that  the  most  distinguished  engraver  of  the  day  should  be  employed  to 


74 


Original  Portraits  of  Washington. 


engrave  a  copper  plate  from  the  painting  so  executed,  and  that  one  thousand  impressions,  first 
printed  from  this  plate,  he  reserved  by  government  for  the  purpose  hereafter  designated ;  the 
remaining  impressions  which  may  be  printed,  to  be  sold,  and  the  proceeds  applied  to  a  fund 
destined  to  defray  the  expenses  of  the  plan.  This  part  of  the  plan  is  founded  on  the  experience  of 
individuals  who  have  pursued  the  business  of  publishing  and  selling  engravings,  many  of  whom, 
after  paying  the  painter,  the  engraver,  the  paper-maker,  the  printer,  and  all  the  various  expenses  of 
the  publication,  have  acquired  considerable  fortunes  in  reward  of  their  enterprise  and  exertions. 
This  was  particularly  instanced  by  the  late  Alderman  Boydell  of  London,  who  (himself  an  engraver), 
in  the  beginning  of  the  reign  of  George  III.,  found  England  paying  annually  to  France  and  other 
nations 'for  this  article  of  ornamental  furniture,  engravings,  near  two  hundred  thousand  dollars,  and 
lived  to  see  (in  consequence  of  a  judicious  encouragement  of  the  fine  arts  by  the  sovereign,  and  his 
own  individual  exertions)  England  receiving  from  France  and  other  nations  a  balance  considerably 
exceeding  that  sum,  making  a  difference  in  favor  of  England  of  more  than  four  hundred  thousand 
dollars  a  year.  Reasoning  on  this  experience,  it  is  manifest  that  this  nation  may  be  probably 
indemnified  for  the  entire  expense  of  the  project  by  the  sale  of  those  impressions  which  may  be 
taken  from  the  plates  after  the  first  thousand,  which  would  remain  to  be  disposed  of  as  follows:  — 

Every  minister  of  the  United  States  going  abroad  on  a  mission  should  be  furnished  with  one 
(or  a  set)  of  these  reserved  engravings  as  an  article  of  his  outfit.  They  should  be  handsomely 
framed,  and  hung  in  the  most  public  and  elegant  apartments  of  his  foreign  residence,  not  so  much 
for  the  purpose  of  ornament  as  of  showing  the  people  among  whom  he  resided  at  once  an  historical 
record  of  important  events,  and  an  evidence  of  our  advance,  not  only  in  political,  naval,  and  military 
greatness,  but  also  in  those  arts  of  peace  which  embellish  and  adorn  even  greatness  itself. 

Every  minister  of  a  foreign  nation  returning  home  from  a  residence  among  us  should  also 
receive  one  (or  a  set)  of  these  prints  in  a  handsome  portfolio ;  and  the  same  compliment  might 
occasionally  be  paid  to  foreigners  of  distinction  visiting  the  country  from  motives  of  curiosity  or  a 
desire  of  improvement,  in  the  discretion  of  government. 

An  historical  record  of  memorable  events,  and  a  monumental  tribute  of  gratitude  and  respect  to 
the  distinguished  servants  of  the  nation,  would  thus  be  preserved  in  a  series  of  paintings  of  unques- 
tionable authenticity,  —  the  principal  works  adorning  the  public  edifices,  and  placing  before  the  eyes 
of  posterity  the  glorious  examples  of  the  past,  and  thus  urging  them  to  that  emulation  which  may 
render  the  future  yet  more  glorious  ;  the  smaller  works,  in  possession  of  the  immediate  descendants 
of  those  who  had  thus  received  the  thanks  of  the  country,  decorating  private  houses  with  the  proud 
evidence  of  individual  service  and  of  national  gratitude,  and  thus  kindling  all  the  talent  and  energy 
of  succeeding  generations  to  elevate,  if  possible,  —  at  least  not  to  diminish,  —  the  honor  of  the  name 
and  nation ;  while  the  engravings  in  a  more  portable,  more  multiplied,  and  less  expensive  form, 
would  disseminate  through  the  world  evidence  of  the  greatness  and  gratitude  of  the  United  States. 

Talent  for  all  the  elegant  arts  abounds  in  this  country,  and  nothing  is  wanting  to  carry  their 
votaries  to  the  highest  rank  of  modern  or  even  ancient  attainment  but  encouragement  and  cultiva- 
tion ;  and  although  all  cannot  hope  to  rise  or  be  sustained  in  the  most  elevated  rank,  still  the  less 
successful  competitors   would  become  eminently  useful  by  turning  their  abilities  to   the   aid  of 


jfohn  Trumbull. 


75 


manufactures.  It  is  the  overflowing  of  the  schools  and  the  academies  of  France  which  has  given 
to  the  manufacture  of  porcelain  at  Sevres,  and  of  ormolu  timepieces  and  ornaments  in  Paris,  that 
high  pre-eminence  over  the  rival  attempts  of  other  nations  which  drives  them  almost  entirely  from 
the  markets  of  elegance,  and  thus  becomes  the  source  of  very  considerable  wealth  to  France. 

The  history  of  the  United  States  already  abounds  in  admirable  subjects  for  the  pencil  and  the 
chisel,  which  should  not  be  suffered  to  sink  into  oblivion.  The  last  war  especially  is  full  of  them, 
and  it  seems  to  me  that  this  is  the  proper  field  for  the  present  and  rising  artists  to  cultivate.  The 
field  is  not  only  fertile  and  extensive,  but  is  hitherto  untouched,  and  seems  to  solicit  their  patriotic 
labors,  and  to  chide  their  delay.  They  are  contemporaries  and  familiar  with  the  actors  and  the 
scenes  they  are  called  to  commemorate,  and  can  therefore  fulfil  the  duty  with  enthusiasm,  a 
knowledge  of  facts,  and  a  degree  of  absolute  authenticity,  which  insures  success,  and  would  give 
real  value  to  their  works.  Nor  should  it  be  forgotten  that  the  stream  of  time  is  continually 
though  silently  bearing  away  from  our  view  objects,  circumstances,  and  eminent  forms,  which 
memory  can  never  recall. 

The  public  buildings  offer  fine  situations  for  the  display  of  works  of  this  nature,  not  only  in 
various  apartments  of  the  Capitol,  but  in  the  house  of  the  President,  where  the  great  room  now 
furnishing  would  with  more  propriety  and  economy  be  enriched  by  subjects  of  national  history 
executed  by  our  own  artists  than  loaded  with  expensive  mirrors,  and  all  the  frivolous  and  perishable 
finery  of  fashionable  upholstery. 

By  giving,  in  such  a  way  as  I  have  here  taken  the  liberty  to  suggest,  a  right  direction  and 
suitable  encouragement  to  the  fine  arts,  they  may  be  rendered  essentially  subservient  to  the  highest 
moral  purposes  of  human  society,  and  be  redeemed  from  the  disgraceful  and  false  imputation  under 
which  they  have  long  been  oppressed,  of  being  only  the  base  and  flattering  instruments  of  royal 
and  aristocratic  luxury  and  vice. 

I  do  not  pretend  to  originality,  sir,  in  submitting  to  you  these  ideas.  Athens  in  ancient  times, 
and  Venice  in  the  best  days  of  that  republic,  acted  on  these  principles  to  a  certain  extent.  All 
civilized  nations  have  made  the  arts  useful  auxiliaries  of  history  by  the  means  of  medals  ;  and  it  is 
even  said  that  this  very  system  was  proposed  to  Louis  XVI.  of  France,  and  approved  by  him, 
but  prevented  from  being  carried  into  effect  by  the  long  train  of  succeeding  calamities.  I  have 
only  attempted  to  adapt  the  general  idea  to  the  circumstances  of  our  country  and  times ;  and 
I  cannot  but  believe,  that  not  only  artists  and  manufacturers  would  derive  great  advantage  from 
the  adoption  of  some  such  plan,  but  that  the  honor  and  the  essential  interests  of  the  nation  would 
thereby  be  eminently  advanced. 

With  very  great  respect,  I  have  the  honor  to  be,  sir, 

Your  most  faithful  servant, 

JOHN  TRUMBULL. 

In  no  collection  can  more  than  twenty-five  examples  of  the  engraved  portraits  of 
"Washington  after  Trumbull  be  found,  and  some  of  these  are  very  poor.  The  full-length 
by  Cheesman  is  by  far  the  best  translation  of  the  painter,  and,  if  in  good  condition,  is  now 


76 


Original  Portraits  of  Washington. 


a  coveted  possession.  A  reproduction  of  Cheesman's  plate  would  be  desirable  ;  but  what 
is  more  called  for  is  the  publication  of  a  large,  handsomely  executed  engraving  of  the 
original,  which,  as  a  standard  of  the  military  portrait,  may  be  widely  circulated.  It  is  to 
be  hoped  that  some  superior  engraver  will  soon  produce  an  acceptable  plate.  The  beau- 
tiful half-length  by  Durand,  issued  in  the  "National  Portrait  Gallery"  in  1834,  is,  more 
than  any  other,  a  familiar  interpretation  of  Trumbull  ;  and  a  royal  folio  from  the  same 
hand  would  have  answered  a  need. 

Trumbull  spent  the  last  twenty-seven  years  of  his  life  in  the  city  of  New  York,  where 
he  wrote  his  autobiography,  and  was  president  of  the  Academy  of  Fine  Arts.  He  not 
only  received  a  fair  price  from  the  United-States  Government  for  his  four  large  pictures, 
—  the  "  Declaration  of  Independence,"  "  Surrender  of  Burgoyne,"  "Surrender  of  Cornwallis," 
and  "  Washington  resicrnina-  his  Commission,"  —  but  realized  almost  as  much  for  the  exhi- 
bition  of  each  in  different  cities.  Notwithstanding  all  this  patronage,  we  find  him  in  old 
age  glad  to  make  over  to  Yale  College  all  his  own  paintings  for  an  annuity  of  one  thou- 
sand dollars. 

He  now  rests  in  a  sepulchre  in  the  old  building  which  contained  his  pictures,  and 
bears  his  name.  The  paintings  have  been  removed  to  the  new  gallery,  and  the  two 
hundred  and  fifty  pictures  in  the  collection  are  a  perpetual  monument  to  the  artist. 

The  following  is  the  inscription  on  his  tomb  :  — 

"  Col.  John  Trumbull,  patriot  and  artist,  friend  and  aide  of  Washington,  died  in  New  York 
Nov.  10,  1843,  JE  88.  He  reposes  in  a  sepulchre  built  by  himself  beneath  this  monumental  gallery 
where,  in  September,  1834,  he  deposited  the  remains  of  Sarah,  his  wife,  who  died  in  New  York,  April 
24,  JE,  $\.    To  his  country  he  gave  his  pencil  and  his  sword." 


GILBERT  STUART. 


RHODE  ISLAND. 

1755-1828. 

"To  trace  the  history  of  each  of  Stuart's  portraits  of  Washington  would  prove  of  curious  interest." — Titckertnan. 

HIS  most  eminent  American  portrait-painter  was  born  on  the  3d  of  December, 
1755,  at  Narragansett,  in  the  colony  of  Rhode  Island.  His  father  was  the 
son  of  a  Presbyterian  clergyman  of  Scotland ;  and  his  mother,  Elizabeth 
Anthony,  was  the  daughter  of  a  well-to-do  English  farmer.  To  this  honest, 
independent  couple  was  born  a  son  destined  to  paint  his  name  in  glowing  lines  in  the 
temple  of  fame. 

The  record  of  his  baptism  is  found  in  St.  Paul's  Church,  Narragansett :  — 

"April  n,h  1756,  being  Palm  Sunday,  Doctor  McSparran  read  prayers,  preached,  and  baptized 
a  child  named  Gilbert  Stewart,  son  of  Gilbert  Stewart,  the  snuff-grinder.  Sureties  :  the  Doctor,  Mr. 
Benjamin  Mumford,  and  Mrs.  Hannah  Mumford." 

Stuart  gave  youthful  indication  of  both  talent,  and  individuality  of  character.  His 
pastimes  and  boyhood  enjoyments  were  chiefly  found  in  the  use  of  a  chalk  or  pencil.  At 
the  age  of  fourteen  some  of  his  drawings  attracted  the  notice  of  a  friend  of  the  family, 
who  took  the  embryo  artist  on  a  visit  to  his  home  in  Newport.  While  there,  Stuart  made 
his  first  essay  at  portrait-painting,  producing  the  counterfeit  resemblance  of  two  beautiful 
doofs  belona-inp-  to  his  host. 

He  received  his  first  few  lessons  in  art  from  a  Scotch  painter  named  Cosmo  Alex- 
ander, who  had  a  good  patronage  for  his  honest  brush  in  the  city  of  Newport.  He  became 
interested  in  Stuart,  taking  him  to  Charleston,  S.C.,  and  from  thence  to  Edinburgh,  Scot- 
land. Unhappily,  soon  after  their  arrival  in  that  city,  the  generous  artist  died,  and  Stuart 
returned  to  America.  He  painted  in  Newport  and  Boston  for  a  while,  and  then  went  back 
to  England,  where,  after  many  tough  fights  with  fate,  he  was  brought  to  the  notice  of 
Mr.  West,  from  whom  he  received  instruction.  Before  many  months  he  was  a  success, 
and  the  fashion  both  in  London  and  Dublin. 

In    1794  he   suddenly  resolved  to  leave   success,  noble  patronage,  all,   to  come  to 

77 


78 


Original  Portraits  of  Washington. 


America,  and  paint  the  portrait  of  the  man  he  most  admired,  —  George  Washington.  His 
after-career  is  so  blended  with  his  production  of  Washington's  portraits,  that  a  history  of 
them  necessarily  gives  important  chapters  of  his  life.  Several  biographies  of  Stuart  have 
been  written  ;  one  recently,  under  the  supervision  of  his  artist-daughter,  by  George  C. 
Mason,  —  a  dignified  and  elegant  work.  The  earlier  biography  by  Dunlap  is  one  of  the 
happiest  linking  together  of  characterful  anecdotes  in  the  language.  Perhaps  few  men's 
lives  present  such  a  field  for  anecdotal  record  as  that  of  Stuart.  He  had  many  remarkable 
and  truly  Scottish  traits  of  character,  and  these  offer  a  continued  temptation  to  the  histo- 
rian. An  outline  sketch  of  him  is  all  that  these  pages  allow.  He  was  humorous,  blunt, 
generous,  and  shrewd,  but  unhappily  afflicted  with  a  freakish  temper.  He  loved  his  native 
land  ;  and,  even  after  he  painted  the  portrait  of  Washington,  no  offer  of  better  fortune 
tempted  him  to  live  abroad.  His  happy  tact  in  entertaining  his  subjects  was  quite  enviable. 
He  was  princely  and  convivial ;  and  no  man  more  gracefully  solved  the  problem  of  free 
yet  discriminating  hospitality.  Of  the  wits,  poets,  philosophers,  and  artists  of  London,  he 
managed  each  clay  by  an  ingenious  plan  to  have  seven  meet  him  at  his  dinner-table, 
without  trouble,  invitation,  or  parade.  He  worked  hard  ;  making  a  rule  to  have  six  sitters 
a  day,  with  an  hour  or  so  of  recreation,  followed  by  a  social  evening.  In  the  United 
States  we  trace  his  residence  in  Philadelphia,  Washington,  Baltimore,  Boston,  and  Newport, 
by  the  "  fair  women  and  brave  men "  whose  features  he  so  happily  portrayed.  After  a 
career  of  unexampled  success,  and  a  ripe  reaping  of  well-deserved  fame,  he  died  at  New- 
port the  27th  of  July,  1828.  His  great  admirer,  Washington  Allston,  wrote  an  obituary 
notice,  which  appeared  in  "The  Boston  Advertiser"  a  few  days  after  his  death,  and  with- 
out which  no  sketch  of  Stuart  would  be  complete. 

"During  the  last  week  the  remains  of  Gilbert  Stuart,  Esq.,  were  consigned  to  the  tomb.  He 
was  born  in  the  State  of  Rhode  Island,  in  the  year  1754.  Soon  after  coming  of  age,  he  went  to 
England,  where  he  became  the  pupil  of  Mr.  West,  the  late  distinguished  president  of  the  Royal 
Academy.  Stuart  there  rose  to  eminence ;  nor  was  it  a  slight  distinction  that  his  claims  were 
acknowledged  even  during  the  life  of  Sir  Joshua  Reynolds.  His  high  reputation  as  a  portrait-painter, 
as  well  in  Ireland  as  in  England,  having  thus  introduced  him  to  a  large  acquaintance  among  the 
higher  classes  of  society,  both  fortune  and  fame  attended  his  progress  ;  insomuch,  that,  had  he  chosen 
to  remain  in  England,  they  would  doubtless  have  rewarded  him  with  their  higher  gifts.  But,  admired 
and  patronized  as  he  was,  he  chose  to  return  to  his  native  country.  He  was  impelled  to  this  step, 
as  he  often  declared,  by  a  desire  to  give  to  Americans  a  faithful  portrait  of  Washington,  and  thus, 
in  some  measure,  to  associate  his  own  with  the  name  of  the  Father  of  his  Country.  And  well  is  his 
ambition  justified  in  the  sublime  head  he  has  left  us  :  a  nobler  personification  of  wisdom  and  good- 
ness reposing  in  the  majesty  of  a  serene  conscience  is  not  to  be  found  on  canvas.  He  returned 
to  America  in  the  year  1793,  and  resided  chiefly  in  Philadelphia  and  Washington,  in  the  practice  of 


Gilbert  Stuart 


79 


his  profession,  till  about  the  year  1805,  when  he  removed  to  Boston,  where  he  remained  to  the  time 
of  his  death.  During  the  last  ten  years  of  his  life  he  had  to  struggle  with  many  infirmities ;  yet 
such  was  the  vigor  of  his  mind,  that  it  seemed  to  triumph  over  the  decays  of  nature,  and  to  give 
to  some  of  his  last  productions  all  the  truth  and  splendour  of  his  prime. 

"Gilbert  Stuart  was  not  only  one  of  the  first  painters  of  his  time,  but  must  have  been  admitted 
by  all  who  had  an  opportunity  of  knowing  him,  to  have  been,  even  out  of  his  art,  an  extraordinary 
man,  —  one  who  would  have  found  distinction  easy  in  any  other  profession  or  walk  of  life.  His  mind 
was  of  a  strong  and  original  cast,  his  perceptions  as  clear  as  they  were  just ;  and  in  the  power  of 
illustration  he  has  rarely  been  equalled.  On  almost  every  subject,  more  especially  on  such  as  were 
connected  with  his  art,  his  conversation  was  marked  by  wisdom  and  knowledge  ;  while  the  uncommon 
precision  and  elegance  of  his  language  seemed  ever  to  receive  an  additional  grace  from  his  manner, 
which  was  that  of  a  well-bred  gentleman. 

"  The  narrations  and  anecdotes  with  which  his  knowledge  of  men  and  of  the  world  had  stored 
his  memory,  and  which  he  often  gave  with  great  beauty  and  dramatic  effect,  were  not  unfrequently 
employed  by  Mr.  Stuart  in  a  way,  and  with  an  address,  peculiar  to  himself.  From  this  store  it  was 
his  custom  to  draw  largely  while  occupied  with  his  sitters,  apparently  for  their  amusement ;  but  his 
object  was  rather,  by  thus  banishing  all  restraint,  to  call  forth,  if  possible,  some  involuntary  traits  of 
the  natural  character.  But  these  glimpses  of  character,  mixed  as  they  are  in  all  men  with  so  much 
that  belongs  to  their  age  and  associates,  would  have  been  of  little  use  to  an  ordinary  observer ;  for 
the  faculty  of  distinguishing  between  the  accidental  and  the  permanent,  in  other  words,  between  the 
conventional  expression  which  arises  from  manners,  and  that  more  subtle  indication  of  the  individual 
mind,  is  indeed  no  common  one  ;  and  by  no  one  with  whom  we  are  acquainted  was  this  faculty  pos- 
sessed in  so  remarkable  a  degree.  It  was  this  which  enabled  him  to  animate  his  canvas,  not  with  the 
appearance  of  mere  general  life,  but  with  that  peculiar,  distinctive  life  which  separates  the  humblest 
individual  from  his  kind.  He  seemed  to  dive  into  the  thoughts  of  men  ;  for  they  were  made  to  rise, 
and  to  speak  on  the  surface.  Were  other  evidences  wanting,  this  talent  alone  were  sufficient  to  estab- 
lish his  claims  as  a  man  of  genius  ;  since  it  is  the  privilege  of  genius  alone  to  measure  at  once  the 
highest  and  the  lowest.  In  his  happier  efforts  no  one  ever  surpassed  him  in  embodying  (if  we  may 
so  speak)  these  transient  apparitions  of  the  soul.  Of  this  not  the  least  admirable  instance  is  his 
portrait  (painted  within  the  last  four  years)  of  the  late  President  Adams',  whose  then  bodily  tenement 
seemed  rather  to  present  the  image  of  some  dilapidated  castle  than  that  of  the  habitation  of  the 
'unbroken  mind;'  but  not  such  is  the  picture.  Called  forth  as  from  its  crumbling  recesses,  the 
living  tenant  is  there,  still  ennobling  the  ruin,  and  upholding  it,  as  it  were,  by  the  strength  of  his 
own  life.  In  this  venerable  ruin  will  the  unbending  patriot  and  the  gifted  artist  speak  to  posterity 
of  the  first  glorious  century  of  our  Republic. 

"  In  a  word,  Gilbert  Stuart  was,  in  its  widest  sense,  a  philosopher  in  his  art  :  he  thoroughly 
understood  its  principles,  as  his  works  bear  witness,  —  whether  as  to  the  harmony  of  colours,  or  of 
lines,  or  of  light  and  shadow,  —  showing  that  exquisite  sense  of  a  whole  which  only  a  man  of  genius 
can  realize  and  embody. 

"  We  cannot  close  this  brief  notice  without  a  passing  record  of  his  generous  bearing  towards 


8o 


Original  Portraits  of  Washington. 


his  professional  brethren.  He  never  suffered  the  manliness  of  his  nature  to  darken  with  the  least 
shadow  of  jealousy ;  but,  where  praise  was  due,  he  gave  it  freely,  and  gave,  too,  with  a  grace  which 
showed,  that,  loving  excellence  for  its  own  sake,  he  had  a  pleasure  in  praising.  To  the  younger  artists 
he  was  uniformly  kind  and  indulgent,  and  most  liberal  of  his  advice,  which  no  one  ever  properly 
asked  but  he  received,  and  in  a  manner  no  less  courteous  than  impressive.  The  unbroken  kindness 
and  friendship  with  which  he  honored  the  writer  of  this  imperfect  sketch  will  never  be  forgotten. 

"In  the  world  of  art  Mr.  Stuart  has  left  a  void  that  will  not  soon  be  filled.  And  well  may  his 
country  say,  'A  great  man  has  passed  from  amongst  us.'  But  Gilbert  Stuart  has  bequeathed  her 
what  is  paramount  to  power,  since  no  power  can  command  it, — the  rich  inheritance  of  his  fame." 

Stuart  portrayed  Washington  as  the  President.  It  was  the  ambition  of  this  artist  to 
produce  the  portrait  of  the  first  President,  which  should  surpass  in  excellence  and  truth 
his  former  efforts  in  portraiture,  and  the  attempts  of  all  other  artists  to  depict  the  eminent 
subject.  As  works  of  art,  his  productions  have  decided  pre-eminence  :  no  American  artist 
approached  him  in  vividness  of  color,  or  exquisite  finish  of  surface.  As  we  consult  the 
familiar  portraits  by  Holbein,  Velasquez,  and  Vandyke,  for  the  persons  of  Henry  VIII., 
Philip  IV.  of  Spain,  and  Charles  I.  of  England,  so  do  a  large  proportion  of  his  countrymen 
go  to  Stuart  for  a  representation  of  Washington.  It  is  to  be  regretted,  not  only  that  these 
portraits  should  represent  him  in  advanced  age,  but  that  the  artist,  as  compared  to  con- 
temporaries, has  given  him  even  a  more  venerable  aspect  than  his  years  justify. 

In  the  autumn  of  1794,  Stuart,  on  his  return  from  London,  presented  to  Washington 
at  Philadelphia  a  letter  of  introduction  from  John  Jay,  then  minister  to  England;  and 
soon  after,  "  in  ye  winter  season,"  as  Timothy  Williams  says,  he  painted  the  first  portrait 
from  life.  The  expression  of  this  was  not  satisfactory  to  the  artist,  and  he  affirmed  that 
he  rubbed  it  out.  He  also  acknowledged  but  two  originals  and  twenty-six  copies  ;  which 
statement  has  always  been  accepted  as  final,  though  investigation  justifies  the  conclusion 
that  either  his  memory  or  record  has  been  at  fault. 

These  portraits,  with  the  exceptions  of  the  cabinet  and  full-length  known  as  "  Wash- 
ington at  Dorchester  Heights,"  are  in  citizen's  dress ;  generally  a  black-velvet  suit  with 
ruffles,  the  latter  sometimes  of  delicate  lace.  In  the  "  Lansdowne  portrait"  he  stands  at 
a  table,  on  which  are  some  books,  an  inkstand,  etc.  Back  of  him  to  the  right  is  an 
armchair,  and  in  the  background  are  two  rows  of  pillars  and  a  drawn  curtain.  The  head 
is  turned  to  the  left,  the  right  arm  raised  as  though  he  had  just  finished  speaking;  and 
the  left  hand,  which  falls  at  his  side,  holds  a  dress-sword.  The  figure  is  not  approved; 
but  the  whole  arrangement  of  accessories  is  appropriate  and  graceful.  The  bust  portraits 
are  in  velvet,  with  little  variety  in  the  deep-tinted  backgrounds. 

It  is  probable,  that,  before  Mr.  Stuart  left  England,  among  others,  he  received  from 
the  Marquis  of  Lansdowne  the  commission  to  paint  the  portrait  still  known  by  the  name 


Gilbert  Stuart. 

See  Page  So. 


\ 


Gilbert  Stuart 


81 


of  that  nobleman.  For  this,  a  full-length  (Stuart's  second  effort),  Washington  was  pre- 
vailed upon  to  submit  to  sittings  by  Mrs.  William  Bingham  of  Philadelphia  in  1796,  who, 
with  her  husband,  esteemed  it  a  favor  to  be  permitted  to  present  it  to  the  marquis,  in 
remembrance  of  his  generous  defence  of  the  cause  of  America  in  the  House  of  Lords. 

When  he  received  the  portrait,  he  expressed  great  delight,  saying,  that,  but  for  his 
age,  he  would  go  to  America,  and  thank  Washington  for  allowing  it  to  be  taken. 

Upon  the  death  of  the  marquis,  the  condition  of  his  affairs  made  it  necessary  to  sell 
his  personal  property ;  and  the  portrait  was  sold  at  public  auction  for  two  thousand  pounds 
sterling,  Mr.  Samuel  Williams,  an  American  gentleman  long  resident  in  London,  being  the 
purchaser. 

A  statement  contradicting  the  price  paid  is  found  in  Smith's  "  Nollekens  and  his 
Times"  (vol.  I.  p.  374):  — 

'  Mr.  Nollekens  once  called  out  across  the  street  to  me,  on  the  opposite  side  of  Hay-hill, 
'Smith,  Peter  Coxe  has  just  knocked  down  General  Washington,  —  Stewart's  picture.  Well,  what  do 
you  think?  it  fetched  a  great  deal  more  than  any  modern  picture  ever  brought  before,  for  he  has 
just  sold  it  at  Lord  Lansdown's  for  ^540.   15^.    You  know  Stewart;  he  was  born  in  America.'" 

At  the  time  of  this  purchase  Mr.  Williams  was  the  Maecenas  of  American  merchants  in 
London.  But  in  1824  misfortune  overtook  him;  and  his  assignees,  in  settling  his  affairs, 
not  being  able  to  obtain  an  adequate  price  for  his  Washington,  concluded  to  dispose  of 
it  by  lottery,  fixing  the  value  at  the  amount  it  had  cost  Mr.  Williams,  —  two  thousand 
pounds,  —  for  which  they  issued  forty  tickets  at  fifty  guineas  each.  John  D.  Lewis,  a 
resident  of  St.  Petersburg  as  the  head  of  the  only  American  commission  house  then 
established  in  Russia,  held  the  winning  number.  The  portrait  was  never  taken  to  St. 
Petersburg,  but  was  left  with  trustees  in  London.  It  was  inherited  in  1841  by  his  son, 
John  Delaware  Lewis,  late  member  of  Parliament  for  Devonport,  who  generously  permitted 
it  to  be  sent  to  the  United  States  Centennial  Exhibition  at  the  request  of  his  uncle, 
William  D.  Lewis  of  Florence  Heights,  N.J. 

That  venerable  gentleman,  from  whom  the  foregoing  facts  were  obtained,  during  the 
winters  of  1818  and  18 19  often  saw  the  portrait  hanging  in  Mr.  Williams's  drawing-room 
in  London. 

At  the  exhibition  it  was  placed  in  the  central  hall  of  Memorial  Building ;  and  beneath 
it,  securely  fastened  to  the  wall  behind  a  thick  plate-glass  to  guard  against  loss,  was  dis- 
played an  autograph  letter  of  Washington  to  the  artist,  which,  though  published  many 
times,  it  seems  appropriate  to  insert  here :  — 


Sir,  —  I  am  under  promise  to  Mrs.  Bingham  to  set  for  you  to-morrow  at  nine  o'clock,  and 


82  Original  Portraits  of  Washington. 


wishing  to  know  if  it  be  convenient  to  you  that  I  should  do  so,  whether  it  shall  be  at  your  own 
house  (as  she  talked  of  the  State  House)  I  send  this  note  to  you  to  ask  information, 

I  am  Sir,  Your  obedient  Serv1 

G°.  WASHINGTON. 

Monday 


nday  ) 
:xing  ) 


Ap1  1796. 

Even 


Superscribed  "  Mr.  Stuart  —  Ches'  St." 

To  this  letter  is  appended  the  following  note :  — 

In  looking  over  my  papers  to  find  one  that  had  the  signature  of  Geo.  Washington,  I  found 
this  asking  me  where  he  should  sit  for  his  portrait,  which  is  now  owned  by  Sam1  Williams  of  Lon- 
don. I  have  thought  proper  it  should  be  his,  especially  as  he  owns  the  only  original  painting  I  ever 
made  of  Washington,  except  one  I  own  myself.  I  painted  a  third,  but  rubbed  it  out.  I  now  present 
this  to  his  brother,  Tim°  Williams,  for  said  Samuel. 

GBT  STUART. 

Boston  9th  day  March,  1823. 


The  statement  that  this,  claimed  to  be  the  only  finished  portrait  of  Washington  taken 
by  Stuart  from  life,  had  been  sent  to  St.  Petersburg,  arose  from  the  fact  that  in  1822, 
upon  an  order  from  Mr.  William  D.  Lewis,  Stuart  made  for  him  a  picture  after  the 
Lansdovvne  head.  The  figure  is  seated  at  a  table,  the  right  forefinger  and  thumb  placed 
on  a  map  ;  beyond  in  the  sky  is  a  rainbow,  similar  to  the  composition  of  the  portrait 
painted  for  Peter  Jay  Munroe.  The  owner  had  this  work  in  St.  Petersburg,  where  he  then 
resided  ;  and  it  is  now  at  his  home  at  Florence  Heights,  N.J.1  When  Mr.  Lewis  informed 
Stuart  that  the  picture  was  to  go  to  St.  Petersburg,  he  replied  that  he  would  be  very 
glad  to  have  one  of  his  works  there  ;  as  in  his  younger  days  he  had  been  offered  the 
position  of  court-painter  by  the  Empress,  Catharine  the  Great. 

Notwithstanding  the  unbroken  chain  of  testimony  sustaining  the  claims  of  the  Lans- 
downe  or  Lewis  picture,  —  testimony  which  cannot  be  disputed,  —  a  portrait  in  the 
possession  of  Mr.  Russell  Sturgis  of  London  has  been  asserted  to  be  the  true  original. 
A  statement  to  this  effect  is  made  in  the  catalogue  for  1879  of  the  Boston  Museum  of 
Fine  Arts,  in  a  note  to  the  description  of  the  Athenaeum  portrait.2  Mr.  John  H.  Sturgis 
of  Brookline,  Mass.,  has  kindly  furnished  the  facts  concerning  its  history.  The  picture 
was  brought  to  the  attention  of  Mr.  Sturgis  by  Mr.  C.  R.  Leslie,  R.  A.,  and  by  him 
pronounced  a  genuine  Stuart.  Mr.  Leslie  took  Mr.  Sturgis  to  see  it,  and  he  was  so 
charmed  with  it  that  he  bought  it.     The  late  Lord  Lansdowne,  who  was  a  friend  of 

«  Mr.  Lewis  died  April  1,  1881. 

»  This  statement  was  omitted  in  the  catalogue  of  the  following  year. 


Gilbert  Stuart. 


83 


Mr.  Sturgis,  said  he  had  no  doubt  that  it  was  the  picture  painted  by  Stuart  for  a  former 
Lord  Lansdowne,  which  he  thought  had  been  sold  into  Russia,  whence  the  picture  is 
supposed  to  have  come.  The  picture  is  about  ten  feet  high  by  six  feet  wide,  and  is 
framed  over  the  mantel-piece  in  the  dining-room  of  Mr.  Sturgis's  town-house,  Carlton- 
House  Terrace,  London.  These  circumstances  seem  to  identify  the  Sturgis  portrait  as  a 
work  by  Stuart ;  and,  if  a  genuine  Stuart,  it  must  be  the  one  painted  for  Gardner 
Baker,  an  account  of  which  will  follow. 

Mr.  Russell  Sturgis  also  owns  a  bust-portrait  of  Washington  painted  by  Stuart  for  his 
uncle,  James  Perkins  Sturgis,  from  whom  he  inherited  it.  This  is  a  rare  example  of 
flesh-painting,  retaining  its  freshness  in  the  manner  peculiar  to  Stuart's  works.  The  first 
owner  had  it  with  him  in  China  for  nearly  thirty  years. 

Stuart's  third  original  —  destined  to  become  the  most  famous  of  his  works  —  was  a 
bust-portrait,  for  which  Washington  consented  to  sit  at  the  solicitation  of  his  wife,  —  of 
whom  Stuart  painted  a  companion-portrait  during  the  spring  and  summer  of  1796.  His 
fame  now  burdened  him  with  multiplied  demands  upon  his  time.  To  secure  leisure,  he 
was  obliged  to  leave  Chestnut  Street ;  and  he  removed  to  Germantown,  where  he  fitted 
up  a  barn  for  a  studio,  in  which  novel  atelier  the  Athenaeum  portraits  were  executed. 

The  importance  given  to  this  well-known  head  by  the  approval  of  the  artist,  as  well 
as  of  many  contemporaries  and  art-critics,  calls  for  the  introduction  of  opinions  from 
established  authority.  Therefore,  though  not  subscribing  entirely  to  Mr.  Tuckerman's 
judgment,  his  opinion,  and  none  is  more  laudatory,  is  introduced :  — 

"  The  freshness  of  color,  the  studious  modelling  of  the  brow,  the  mingling  of  clear  purpose 
and  benevolence  in  the  eye,  and  a  thorough  nobleness  and  dignity  in  the  whole  head,  realize  all  the 
most  intelligent  admirer  of  the  original  has  imagined,  —  not,  indeed,  when  thinking  of  him  as  the 
intrepid  leader  of  armies,  but  in  the  last  analysis  and  complete  image  of  the  hero  in  retirement,  in 
all  the  consciousness  of  a  sublime  career,  unimpeachable  fidelity  to  a  national  trust,  and  the  eternal 
gratitude  of  a  free  people.  ...  It  is  this  masterpiece  of  Stuart  that  has  not  only  perpetuated,  but 
distributed  over  the  globe,  the  resemblance  of  Washington.  It  has  been  sometimes  lamented,  that 
so  popular  a  work  does  not  represent  him  in  the  aspect  of  a  successful  warrior,  or  in  the  flush  of 
youth ;  but  there  seems  to  be  a  singular  harmony  between  this  venerable  image,  so  majestic, 
benignant,  and  serene,  and  the  absolute  character  -and  peculiar  example  of  Washington,  separated 
from  what  was  purely  incidental  and  contingent  in  his  life.  Self-control,  endurance,  dauntless 
courage,  loyalty  to  a  just  but  sometimes  desperate  cause,  hope  through  the  most  hopeless  crisis,  and 
a  tone  of  feeling  the  most  exalted,  united  to  habits  of  candid  simplicity,  are  better  embodied  in 
such  a  calm,  magnanimous,  mature  image,  full  of  dignity  and  sweetness,  than  if  portrayed  in  battle- 
array  or  melodramatic  attitude.  Let  such  pictures  as  David's  Napoleon  —  with  prancing  steed, 
flashing  eye,  and  waving  sword  —  represent  the  mere  victor  and  military  genius ;  but  he  who 
spurned  a  crown,  knew  no  watchword  but  duty,  no  goal  but  freedom  and  justice,  and  no  reward 


§4 


Original  Portraits  of  Washington. 


but  the  approval  of  conscience  and  the  gratitude  of  a  country,  lives  more  appropriately,  both  to 
memory  and  in  art,  under  the  aspect  of  a  finished  life  crowned  with  the  harvest  of  honor  and 
peace,  and  serene  in  the  consummation  of  disinterested  purpose." 

The  Athenaeum  portraits  were  ordered  for  Mrs.  Washington.  A  family  tradition  says 
they  were  intended  by  her  as  a  gift  to  her  eldest  grand-daughter,  Elizabeth  Parke  Law  ; 
but  the  artist,  it  has  been  charged,  wishing  to  retain  them,  resorted  to  the  subterfuge  of 
never  quite  finishing  the  backgrounds,  while  the  heads  were  completed  in  his  best 
manner.    Stuart's  explanation  is  given  by  Mr.  Neagle  the  artist,  in  these  words  :  — 

"  Mrs.  Washington  called  often  to  see  the  general's  portrait,  and  was  desirous  to  possess  the 
painting.  One  day  she  called  with  her  husband,  and  begged  to  know  when  she  might  have  it.  The 
general  himself  never  pressed  it ;  but  on  this  occasion,  as  he  and  his  lady  were  about  to  retire,  he 
returned  to  Mr.  Stuart,  and  said  he  saw  plainly  of  v/hat  advantage  the  picture  was  to  the  painter 
(who  had  been  constantly  employed  in  copying  it;  and  Stuart  said  he  could  not  work  so  well  from 
another) :  he  therefore  begged  the  artist  to  retain  the  painting  at  his  pleasure." 

Miss  Jane  Stuart's  version  is,  — 

"  When  Gen.  and  Mrs.  Washington  took  their  last  sittings,  her  father  told  Washington  that  it 
would  be  of  great  importance  to  him  to  retain  the  originals,  and  that  Washington  consented,  saying, 
'  Certainly,  Mr.  Stuart,  if  they  arc  of  any  consequence  to  you :  I  shall  be  perfectly  satisfied  with 
copies  from  your  hand,  as  it  will  be  impossible  for  me  to  sit  again  at  present.'  " 

Miss  Stuart  says  that  the  copies  made  of  the  originals  were  for  Mount  Vernon. 

There  seems  to  be  sufficient  evidence  that  Stuart  determined  on  keeping  this  beauti- 
ful head,  —  his  "  nest-egg,"  as  he  termed  it.  Mrs.  Elizabeth  Bordley  Gibson  said  that  she 
had  often  heard  the  matter  discussed  at  Mount  Vernon,  and  that  the  President  called 
several  times  at  the  studio,  requesting  that  the  picture  should  be  sent  home  ;  but  Stuart 
always  made  the  excuse  that  it  was  not  finished.  At  last,  in  a  ruffled  manner,  the  Presi- 
dent curtly  said  to  the  artist,  "Well,  Mr.  Stuart,  I  will  not  call  again  for  this  portrait: 
when  it  is  finished,  send  it  to  me." 

Stuart  was  disappointed  in  realizing  the  large  price  he  expected  for  these  portraits. 
It  is  said  that  an  English  gentleman  offered  ten  thousand  dollars  for  them  soon  after  the 
sitting,  which  was  refused  ;  and,  not  long  before  the  artist's  death,  the  State  of  Massachu- 
setts wished  to  purchase  them,  offering  two  thousand  dollars.  They  remained  in  possession 
of  his  family  until  October,  1831,  when  they  were  bought  from  his  widow  for  fifteen 
hundred  dollars  by  the  Washington  Association  of  Boston  and  other  subscribers,  and 
presented  to  the  Boston  Athenseum.    These  chcfs-d'a>nvres  have  recently  been  transferred, 


Gilbert  Stuart 

See  Page  84. 


Gilbert  Stuart. 


85 


for  more  perfect  security,  with  other  paintings  of  the  Athenaeum  Collection,  to  the  Museum 
of  Fine  Arts,  Boston. 

Dunlap  calls  this  the  second  portrait,  and  says  it  "  was  eminently  successful."  He 
further  writes  :  — 

"He  painted  it  on  a  three-quarter  canvas,  but  only  finished  the  head.  When  last  I  saw  this, 
the  only  faithful  portrait  of  the  Father  of  our  Country,  it  hung,  without  frame,  on  the  door  of  the 
artist's  painting-room  at  his  house  on  Fort  Hill,  Boston.  This  beautiful  image  of  the  mind,  as  well 
as  features,  of  Washington,  was  offered  to  the  State  of  Massachusetts  by  the  artist  for  one  thousand 
dollars,  which  they  refused  to  give." 

The  artist  is  authority  for  the  statement,  that,  of  the  second  and  third  originals,  he 
made  twenty-six  copies,  which  differed  occasionally  in  accessories  ;  but  the  heads  were  true 
reproductions ;  though  it  is  also  said  he  often  asserted  that  he  never  executed  a  copy 
which  was  satisfactory  to  himself. 

While  Stuart  was  at  work  on  the  Lansdowne  picture,  he  was  painting  a  portrait  of 
Mr.  William  Constable  of  New  York.  This  gentleman  was  so  pleased  with  the  represen- 
tation of  the  President,  that  he  prevailed  upon  Stuart  to  paint  him  a  copy  of  it.  It  is 
asserted  that  Washington  stood  for  both,  so  that  the  one  ordered  by  Mr.  Constable  may 
claim  to  be  an  original.  Mr.  Constable's  interest  in  the  portrait  was  such,  that  he  made 
two  journeys  in  his  chariot  from  New  York  to  see  it ;  and,  when  it  arrived  at  his  house, 
a  number  of  distinguished  gentlemen  were  invited  to  welcome  it.  The  general  verdict  was 
that  of  enthusiastic  approval ;  and  there  seems  no  reason  to  pronounce  it  inferior  to  the 
Lansdowne,  and  it  has  the  advantage  of  being  in  perfect  condition. 

It  was  described  at  the  time  as  a  "  majestic  and  dignified  picture."  It  remained  in 
the  old  Constable  mansion,  which  stood  on  the  present  site  of  the  Astor  House,  until 
the  death  of  its  owner,  in  1803.  He  bequeathed  it  to  his  son  William,  then  but  seventeen, 
and  living  in  Schenectady ;  but  it  was  removed  to  the  home  of  his  brother-in-law,  Henry 
E.  Pierrepont.  In  18 12  Mr.  Pierrepont  bought  it  at  the  price  originally  paid  Stuart, — 
six  hundred  dollars.  In  1824,  when  Lafayette  visited  Mrs.  Constable,  —  her  husband  having 
been  on  his  staff,  —  he  said,  in  looking  at  this  picture,  "This  is  my  noble  friend,  indeed!" 

It  has  descended  to  the  grandson  of  Mr.  Constable,  Henry  E.  Pierrepont  of  Brooklyn, 
N.Y.,  who  says  of  it,  — 

"Owing  to  intimacy  and  friendship  for  Mr.  Constable,  Stuart  paid  particular  attention  to  the 
details  of  this  portrait,  which  is  more  highly  finished  than  usual  for  Stuart.  It  is  now  as  fresh  in 
coloring  as  the  day  it  was  painted,  and  is  in  perfect  preservation." 


An  anecdote  illustrating  the  pains  bestowed  upon  this  picture  is  thus  related :  — 


86 


Original  Portraits  of  Washington. 


"Mr.  Daniel  McCormick,  a  friend  of  Mr.  Constable,  one  day  met  Mr.  Stuart  carrying  a  Turkey 
rug,  and  asked  him  what  he  intended  to  do  with  it.  Stuart  replied,  '  It  is  for  my  studio.'  As  he 
had  the  reputation  of  expensive  habits,  Mr.  McCormick  exclaimed,  'You  extravagant  dog!  Why 
didn't  you  buy  a  Kidderminster,  which  is  cheap,  and  would  answer  as  well  ? '  Stuart  entered  into 
no  explanation  then,  but  afterwards  took  him  to  see  the  Constable  portrait,  when  he  nudged  his 
elbow,  and  asked,  '  What  do  you  say  now  to  my  carpet  ? ' " 

This  portrait  has  been  twice  copied  in  oil;  first,  in  1841,  at  the  request  of  the 
mayor  of  Hudson,  N.Y.,  who  desired  Mr.  Prime  to  copy  it  for  the  council-chamber  of 
that  city.  One  of  Stuart's  favorite  pupils,  Mr.  James  Frothingham,  solicited  permission 
to  reproduce  it,  and  he  worked  three  months  at  the  hospitable  home.  He  made  a  very 
brilliant  and  beautiful  translation,  which  was  presented  by  Mr.  A.  A.  Low  to  the  city  of 
Salem,  Mass. 

A  plate  was  made  of  the  head  of  this  portrait,  which  appeared  in  Tuckerman's  "  Por- 
traits of  Washington  ;  "  but  the  engraving  has  been  suppressed,  as  it  was  not  considered 
a  just  reproduction. 

Stuart  painted  a  half-length  at  the  same  time  for  Mr.  Constable,  which  was  presented 
by  him  to  his  friend  and  counsel,  Alexander  Hamilton.  It  is  owned  by  the  grandson  of 
that  statesman,  Mr.  Alexander  Hamilton  of  New  York,  who  gives  another  history  of  it. 
He  says,  — 

"  This  portrait  belongs  to  me,  having  been  given  to  me  by  my  father's  will,  as  the  portrait  of 
Washington  given  by  him  to  my  grandfather,  Gen.  Hamilton.  It  was  in  Gen.  Hamilton's  possession, 
afterwards  in  his  widow's  (my  grandmother's)  possession  for  about  fifty  years,  and  was  given  by  her 
to  my  father.  It  has  never  been  engraved  to  my  knowledge,  is  a  half-length,  seated,  and  is  in 
excellent  preservation,  the  colors  being  fresh  and  brilliant.  Mr.  Pierrepont  examined  the  picture  at 
my  house;  and  on  the  strength  of  a  receipt  from  Stuart  for  a  portrait  of  about  the  same  size,  and 
also  on  account  of  Mr.  Constable's  great  friendship  for  Gen.  Hamilton,  he  argues  that  this  is  the 
picture  referred  to  in  the  receipt." 

"  On  the  other  hand,  we  have  the  statement  of  one  of  Washington's  family,  that  it  was  the  gift 
of  Washington  ;  and,  as  far  as  I  know,  it  was  the  belief  of  Gen.  Hamilton's  widow  and  family, 
that  it  was  Washington's  gift  to  him.  My  father  was  sixteen  years  old  when  his  father  was  killed, 
and  seemed  to  have  no  doubt  about  it." 

The  following  bill  (the  original  in  possession  of  Mr.  Pierrepont)  establishes  beyond 
controversy  that  two  pictures  were  painted  for  Mr.  Constable  :  — 

Wm.  Constable  Esqr  To  G.  Stuart  Dr 

To  one  portrait  of  said  W.  C  Dr  100 

"   one  do  of  the  late  president  of  the  United  States  at  full  length       ...  500 

"   one  do  half  length   250 

Dr  850  Dollars. 


Gilbert  Stuart. 


87 


Philadelphia  13  July  1797.  —  Received  of  Richd  Soderstrom  Esqr  through  the  hands  of  John 
Vaughan  Esqr  the  above  sum  in  full  of  all  demands  against  them  and  the  above  mentioned 
Wm  Constable  Esqr 

G.  STUART. 

DIMENSIONS    GIVEN    UP    BY    MR.  STUART. 

5  feet  &  8  feet 
34  4-3" 

Before  the  Lansdowne  portrait  was  sent  to  England,  Stuart  made  a  replica  for 
Mr.  William  Bingham  of  Philadelphia,  afterwards  United-States  senator.  When  this 
gentleman  went  to  Europe,  the  portrait  was  deposited  in  the  Bank  of  the  United  States. 
He  died  abroad  in  1804;  and  in  fulfilment  of  his  bequest  the  portrait  was  in  181 1 
removed  to  the  Academy  of  Fine  Arts,  Philadelphia.  Mr.  Stuart,  who  had  suffered 
greatly  from  the  piracy  of  artists,  especially  engravers,  refused  to  allow  the  Bingham 
portrait  to  be  copied,  it  being  his  opinion  that  an  artist  should  have  the  same  protection 
as  an  author. 

The  second  copy  of  the  Lansdowne  picture  was  executed  by  Stuart  for  Mr.  Gardner 
Baker,  a  genial  gentleman  of  culture.  He  was  one  of  the  most  energetic  officers  of  the 
Society  of  St.  Tammany,  and  in  1790  began  to  gather  materials  for  a  museum  which 
was  situated  on  the  corner  of  Broad  and  Pearl  Streets.  In  1798  he  took  the  Washington 
portrait  for  exhibition  in  Boston,  where  he  died  of  yellow-fever.  His  effects  were  sold  ; 
and  the  portrait  became  the  property  of  Mr.  Thomas  Laing,  in  payment  of  a  claim. 
Despite  the  denial  of  Mr.  Stuart,  this  has  long  been  supposed  to  be  the  well-known 
portrait  which  now  hangs  in  the  East  Room  at  the  White  House.  Its  history  has  been 
involved  in  doubt ;  but,  with  characteristic  plain  speech,  Dunlap  tells  the  following 
story :  — 

"Mr.  Baker,  in  the  course  of  business,  became  the  debtor  of  Mr.  William  Laing,  who  in 
process  of  time  received  the  second  picture  in  payment.  Mr.  Laing,  being  in  the  metropolis  when 
the  President's  house  was  being  furnished,  suggested  the  appropriateness  of  such  a  picture  as  he 
possessed  for  such  a  place,  and  eventually  sold  the  portrait  to  the  committee  who  directed  the 
business.  Unfortunately,  only  knowing  Winstanley  as  a  painter"  [the  relations  of  this  artist  with 
Stuart  are  described  in  a  following  page],  "he  sent  to  him  a  commission  for  packing  up  and 
shipping  the  original  Stuart.  Winstanley  received  it,  and  packed  up  one  of  his  copies  instead, 
which  was  unsuspectingly  received,  and  put  up  in  the  palace.  The  cheat  was  not  discovered  until 
after  Stuart  removed  to  the  city  of  Washington,  'when  he  at  a  glance  saw  that  the  picture  was  not 
from  his  pencil,  and  disclaimed  it.  In  the  mean  time  the  rogue  had  returned  home  with  his  prize ; 
and  Mr.  Laing,  after  making  every  effort  to  regain  the  picture,  refunded  the  money." 


88  Original  Portraits  of  Washington. 

No  record  of  the  money  being  returned  has  been  found ;  but  receipts  for  the  sum  paid 
by  the  government  for  this  portrait  may  be  seen  at  the  Treasury  Department.  Copies  of 
them  are  here  given ;  and  it  will  be  remarked  that  the  picture  was  not  purchased  from 
the  artist,  but,  as  Mr.  Dunlap  says,  from  Mr.  Laing. 

"5*  July  1800. 

Debtor  the  U.  States  in  act.  with  Henry  Lee. 

Dollars. 

To  one  portrait  full  length  of  the  late  Genl  Washington  by  Stewart  with  frame  bought  from  Thos.  Lang    .  800 

HENRY  LEE. 

Pay  the  above  to  Daniel  Brent  in  full  for  the  above  picture. 

H.  LEE. 

Navy  Dept.  July,  1800. 

Genl  Marshal,1  Mr.  Dexter2  &  myself  agreed  that  Genl.  Washington's  Picture  should  be 
bought  —  Picture  &  Frame  —  at  8ooDrs.  Genl  Lee  now  wants  the  money  for  it,  which  I  am  willing 
he  should  receive.    The  Secy  of  the  Treasury,  I  presume,  will  take  order  in  it. 

BEN.  STODERT.3 

The  above  picture  was  purchased  by  direction  of  the  Secretaries  of  the  Departments  for  the 
President's  House. 

N.  H." 

The  only  discrepancy  between  the  above  and  Mr.  Dunlap's  account  is  in  the  name  of 
Mr.  Laing, — -an  inaccuracy  not  unprecedented  in  the  writings  of  either  the  commissioners 
or  Dunlap,  nor  uncommon  to  the  time.  It  will  be  observed  that  Stoddert,  in  writing  his 
own  signature,  spelled  it  with  one  "  d." 

Stuart's  denial  of  the  White  House  portrait  has  been  repeated  by  his  daughter,  yet 
appears  to  have  had  but  little  effect  in  removing  popular  faith  in  that  work.  The 
indifferent  coloring  —  quite  unworthy  of  the  warm  flesh-tints  of  Stuart's  brush,  upon  which 
his  fame  chiefly  rests  —  is  sufficient  to  excite  suspicion  as  to  its  genuineness,  and  has 
provoked  much  discussion  among  artists.  It  is  unjust  to  one  of  America's  greatest 
painters  that  this  libel  upon  his  genius  should  be  retained  in  the  Executive  Mansion. 

Special  interest  is  attached  to  this  picture  from  the  oft-repeated  story  of  its  having 
been  cut  from  the  frame  by  Mrs.  Madison,  rolled  up,  and  sent  to  Fairfax  County, 
Virginia,  when  the  British  occupied  the  Capital,  Aug.  24,  18 14. 

The  first  version  of  this  portrait's  adventure  was  related  through  letters  from  Mr. 


1  John  Marshall,  Secretary  of  State.  1  Samuel  Dexter,  Secretary  of  War. 

3  Benjamin  Stoddert,  Secretary  of  the  Navy. 


Gilbert  S heart. 


89 


Robert  S.  S.  Depeyster,  Westport,  Conn.,  and  Mr.  Jacob  Barker  of  New  Orleans,  which 
were  published  in  a  Philadelphia  paper.    Mr.  Barker  said,  — 

"We  took  the  portrait, — you  and  I  held  each  a  corner  of  the  light  frame,  having  left  the  gilt 
frame  on  the  floor  of  the  room,  my  servant  a  third,  and  a  hired  black  boy  a  fourth,  —  fell  in  the  trail 
of  the  army,  marched  on  with  it  through  Georgetown,  and  several  miles  on  the  road  to  Montgomery 
Court-house.  While  we  were  crossing  the  bridge  at  Georgetown,  an  Irishwoman,  who  was  loading 
a  cart  with  her  furniture  in  great  haste,  recognized  Washington's  countenance,  and  clashed  down  a 
looking-glass  she  was  lifting,  extended  her  hands  towards  heaven,  and  exclaimed,  '  My  God  !  if  he  were 
only  here  to  save  us  ! '  Unable  to  continue  from  fatigue,  we  turned  off  in  the  woods,  and  soon  came 
to  the  house  of  a  poor  widow,  and  made  arrangements  with  her  to  keep  the  portrait  until  called  for." 

Mr.  Charles  Carroll  of  Bellevue,  Georgetown,  D.C.,  has  related  to  relatives  now  living, 
that  he  carried  it  in  a  roll  before  him  on  horseback  to  a  place  of  safety,  and  that  it  was 
his  own  thought  to  remove  it.  As  soon  as  he  heard  that  the  British  were  approaching 
the  city,  he  mounted  a  fast  horse,  rode  to  the  White  House,  and  himself  aided  in  taking 
it  from  the  frame. 

Opposed  to  these  statements  is  "that  of  Mr.  Barlow  of  Washington,  who  recently 
cleaned  and  reframed  the  picture.  He  says,  that,  if  removed  at  all  on  that  occasion,  it 
was  not  cut  from  the  original  stretcher,  as  the  selvage  of  the  canvas,  and  the  wrought 
nails  peculiar  to  that  day,  remain  intact.  This  is  a  remarkable  instance  of  the  superior 
value  of  "circumstantial  evidence"  to  "parol  testimony." 

Mr.  W.  W.  Corcoran  gives  quite  another  version  of  the  picture's  removal.  He  was  a 
youth  of  sixteen  at  the  time  of  the  capture  of  Washington  City ;  and  he  distinctly  remem- 
bers that  the  picture  was  deposited  at  the  Crawford  Hotel,  Georgetown,  when  the  President 
left  the  White  House.  It  remained  there  until  Crawford,  fearing  that  its  custody  would 
cause  the  British  to  deal  harshly  with  him,  put  it  out  into  the  street,  where  it  was  exposed 
to  the  inclement  weather  for  several  days.  The  story  of  its  having  been  cut  from  the 
frame  soon  became  a  favorite  legend ;  and  Mr.  Corcoran  would  sometimes  remind  Mrs. 
Madison  that  he  saw  the  framed  portrait  in  the  open  street,  when  the  gracious  lady  would 
laugh,  and  in  a  delightful  way  declare  that  she  had  so  often  heard  the  story,  that  she 
believed  it  herself. 

In  pursuance  of  an  order  from  the  State  of  Rhode  Island,  Stuart  was  engaged  by  the 
committee  to  paint  two  portraits  of  Washington,  —  one  for  each  of  the  State  Capitols. 
The  following  resolutions  were  adopted  March  1,  1800,  at  the  first  session  of  the  General 
Assembly  after  the  death  of  Washington  :  — 

"The  General  Assembly,  deeply  impressed  with  the  importance  of  perpetuating  his  eminent 
virtues,  which  have  shone  with  unrivalled  lustre,  and  of  transmitting  to  posterity  the  high  estimate 


9o 


Original  Portraits  of  Washington. 


in  which  he  is  held  by  his  fellow-citizens,  and  of  giving  them  an  opportunity  of  seeing  the  likeness 
of  the  man  who  was  'first  in  war,  first  in  peace,  and  first  in  the  hearts  of  his  countrymen;'  and  who 
expressed  in  his  features  the  benevolence  of  his  nature,  maintained  in  his  person  the  dignity  of  his 
mind  :  do  resolve  that  two  portraits  of  him,  drawn  at  full  length  by  some  eminent  artist,  with  suita- 
ble frames,  be  procured  at  the  expense  of  the  State,  and  that  one  of  them  be  placed  in  the  senate 
chamber  in  each  of  the  State  Houses  in  the  counties  of  Newport  and  Providence." 

These  portraits  are  in  the  style  of  the  Lansdowne  picture ;  and  Stuart  is  said  to  have 
taken  great  care  and  pride  in  rendering  them,  as  they  were  intended  for  his  native  State. 
That  at  Newport  is  considered  the  better  portrait.  Tuckerman  says,  "  It  is  distinguished 
for  the  apt  and  careful  moulding  of  the  brow ;  and  the  drooping  angle  of  the  eyelids  is 
also  a  notable  feature." 

A  full-length  by  Stuart  was  purchased  by  the  General  Assembly  of  Connecticut,  May, 
1800,  at  their  first  session  after  the  death  of  Washington.  It  was  ordered  to  be  hune  in 
the  council-chamber  (afterwards  called  the  senate-chamber),  and  is  also  after  the  Lans- 
downe picture.  The  committee  to  purchase  it  consisted  of  James  Hillhouse,  Chauncey 
Goodrich,  and  John  Trumbull  the  poet.  It  now  hangs  in  the  State  House,  Hartford, 
Conn.,  and  was  engraved  in  18 18. 

Another  full-length,  in  the  Lenox  Collection,  New- York  City,  is  a  favorite  picture.  It 
was  painted  by  Stuart  for  Peter  Jay  Munroe,  and  was  purchased  from  his  family  by  Mr. 
Lenox  in  July,  1845.  It  has  been  humorously  called  the  "teapot  portrait,"  because  of  the 
position  of  the  arms  ;  but  this  is  a  forced  witticism.  This  portrait  was  engraved  by  Sartain 
for  a  reprint  of  "Washington's  Farewell  Address,"  printed  in  1850  for  private  circulation 
by  Mr.  James  Lenox,  who  owned  the  original  manuscript.  It  has  also  been  reproduced 
by  Hill  and  Ritchie.  Washington  stands  by  a  table,  on  which  his  hand  rests.  The  letters 
"  G.  St."  are  on  the  leg  of  the  table.  The  coat  is  held  by  a  single  button,  and  the  figure 
is  better  drawn  than  that  of  the  Lansdowne. 

The  last  full-length  made  by  Stuart  was  presented  to  the  town  of  Boston  in  1806, 
by  Samuel  Parkman.  For  many  years  it  hung  in  Faneuil  Hall,  but  was  recently  removed 
to  the  Museum  of  Fine  Arts,  and  replaced  by  a  copy  by  Miss  Jane  Stuart,  daughter  of 
the  artist.  This  portrait  differs  from  the  others,  as  it  represents  Washington  standing 
beside  a  white  horse.  The  introduction  of  the  horse  is  explained  by  the  artist,  who  says, 
that,  in  his  effort  to  paint  Washington,  he  was  for  a  while  quite  discouraged;  and  the 
first  time  he  caught  a  sufficiently  animated  expression  was  in  consequence  of  Washington's 
pleasure  in  watching  a  spirited  white  charger  from  the  study-window.  While  the  senti- 
ment that  led  to  the  introduction  of  the  steed  is  admirable,  the  fact  must  be  deplored, 
as  it  is  probably  the  most  wooden  horse  since  the  days  of  Troy. 


Gilbert  Stuart. 

See  Page  90. 


Gilbert  Stuart. 


9i 


Stuart  gives  an  amusing  account  of  the  origin  of  his  commission  for  this  picture, 
which  was  executed  in  nine  days  to  soothe  the  feelings  of  the  gentleman  who  gave  it  to 
the  city.  It  appears  that  Mr.  Parkman  received,  as  security  for  five  hundred  dollars  lent 
by  him  to  Winstanley,  a  full-length  portrait  of  Washington  painted  by  himself,  but  which 
he  represented  to  be  the  work  of  Stuart.  Of  course  the  artist-adventurer,  who  left  the 
city  as  soon  as  he  received  the  money,  never  returned.  Mr.  Parkman  tried  to  sell  his 
Stuart.  He  sent  it  abroad,  but  did  not  find  a  purchaser.  He  finally,  with  appropriate 
ceremony,  presented  it  to  the  city  of  Boston,  and  it  was  hung  in  the  "  Cradle  of  Liberty." 
One  day  a  Democrat  who  knew  the  history  of  the  painting  exposed  the  fraud  in  a  political 
meeting,  and  denounced  the  spurious  canvas  as  the  gift  of  a  Federalist.  The  excitement 
was  intense :  even  the  boys  in  the  street  hooted  at  such  a  gift.  The  unfortunate  donor 
was  so  teased  and  perplexed,  that  he  was  glad  to  give  an  order  to  Mr.  Stuart  to  replace 
the  picture  by  one  known  to  be  from  his  hand.  Another  version  is,  that  the  gift  was 
tendered  in  a  town-meeting :  but  a  burly  blacksmith  cried  out  in  objection,  saying  it  was  a 
cheat ;  that  Stuart  was  in  the  city,  and  "  the  gentleman  might  have  one  painted  by  him." 

In  "The  Record  of  the  Town  of  Boston"  this  picture  was  alluded  to  as  a  copy  of 
Stuart.  Miss  Stuart,  however,  identified  it  as  the  work  of  her  father ;  and  the  city  authori- 
ties caused  her  letter  to  be  inserted  in  the  Record  as  follows:  "The  picture  of  Wash- 
ington now  in  Faneuil  Hall  was  painted  by  my  father,  and  presented  to  the  town  of 
Boston  by  Samuel  Parkman.  This  circumstance  is  too  much  impressed  upon  my  mind  to 
admit  of  any  doubt  whatever.  Also  that  it  was  copied  from  the  original  head,  now  in 
the  Athenaeum."  It  is  a  full-length  in  uniform,  and  represents  Washington  standing  beside 
and  holding  the  bridle  of  his  horse  with  his  right,  a  chapcau  in  his  left  hand.  The  distance 
shows  shipping  in  the  harbor;  and  the  accessories  are  commemorative  of  the  first  flight  of 
the  enemy,  March  17,  1776. 

The  cabinet  size  painted  for  Mr.  I.  P.  Davis  in  18 10  was  the  original  study  for  the 
Faneuil-hall  portrait.  Mr.  Stuart  called  it  a  "  small  full-length."  This  picture  belongs  to 
Mr.  Ignatius  Sargent  of  Brookline,  Mass.,  who  purchased  it  from  the  heirs  of  Mr.  Davis. 
It  was  exhibited  in  a  collection  of  Stuart  portraits  at  the  Art  Museum  in  Boston,  1880. 

The  only  cabinet  full-length  in  citizen's  dress  by  Stuart  belongs  to  Mr.  George  F. 
Meredith  of  London.  He  received  it  through  his  wife,  daughter  of  a  member  of  Parliament 
from  Birmingham.  This  gentleman  had  married  an  American  lady,  whose  father  was  on 
Washington's  staff.  When  exhibited  here  in  1876,  the  painting  was  recognized  as  the 
work  of  Stuart  by  his  daughter  and  others.    It  was  shortly  afterwards  returned  to  England. 

A  very  interesting  Stuart  is  in  the  collection  of  the  late  Joseph  Harrison,  Philadelphia. 
This  is  affirmed  to  be  the  canvas  upon  which  Stuart  painted  the  first  portrait,  which  he 
subsequently  declared  he  had  rubbed  out.     It  differs  from  the  Athenaeum  portrait  in  the 


92 


Original  Portraits  of  Washington. 


pose  of  the  head,  which  is  turned  to  the  left.  Mr.  Harrison  believed  it  to  be  an  original 
when  he  purchased  it,  and  continued  to  so  believe,  even  after  the  authoritative  announce- 
ment that  there  were  only  two  originals  in  existence.  As  an  assurance  of  his  faith  in  it, 
he  inserted  in  the  last  catalogue  made  of  his  pictures  this  extract  from  Rembrandt  Peale's 
lecture  on  the  Portraits  of  Washington:  — 

"  Mr.  Stuart's  first  portrait  of  Washington  was  painted  simultaneously  with  mine,  in  September, 
1795.  From  this  portrait  he  made  five  copies,  but  becoming  dissatisfied  with  it,  some  years  after- 
wards sold  it  for  two  hundred  dollars  to  Winstanley,  the  landscape-painter.  Of  this  I  was  informed 
by  Dr.  Thornton,  in  Washington,  soon  after  its  occurrence  ;  so  that  it  was  not  literally  rubbed  out, 
as  has  been  supposed. 

"  Winstanley  took  it  to  London,  where  it  was  bought  by  Mr.  William  Vaughan  ;  and  it  is  now 
in  the  possession  of  Joseph  Harrison,  jun.,  of  Philadelphia,  who  has  permitted  me  to  copy  it."  [This 
copy  is  now  in  the  Lenox  Collection.]  "Although  this  portrait  was  not  satisfactory  to  Mr.  Stuart, 
yet  I  think  in  the  lower  portion  of  the  face  it  has  the  advantage  over  the  portrait  he  afterwards 
painted.  A  small  copy  of  it  I  have  seen  in  Baltimore,  certified  on  the  back  by  Robert  Gilmor  as 
painted  for  him  by  James  House  from  Stuart's  first  portrait  of  Washington.  To  me  it  was  interest- 
ing, in  making  this  copy  of  the  work  of  a  fellow-artist,  to  study  his  first  impressions  of  the  living 
countenance  of  Washington." 

On  this  canvas  is  written  "  General  Washington,  by  Mr.  Stuart."  It  was  owned  by 
Mr.  Samuel  Vaughan  (not  William,  who  inherited  it),  who  was  a  London  merchant,  resi- 
dent several  years  in  Philadelphia,  and  a  great  admirer  of  Washington,  —  the  "  Mr.  Vaughan  " 
who  presented  him  with  the  handsomely  carved  mantel  for  the  mansion  at  Mount  Vernon, 
which  he  termed  in  his  diary  "my  marble  chimney-piece."  Mr.  Vaughan  took  or  sent 
the  portrait  to  London  in  the  year  in  which  it  was  painted,  and  it  was  there  engraved. 
The  engraving  bears  this  inscription  :  "  George  Washington.  Engraved  by  T.  Holloway, 
from  a  Picture  painted  by  Mr.  Stuart  in  1795,  in  possession  of  Samuel  Vaughan  Esqr. 
Published  as  the  act  directs  by  T.  Holloway  and  the  other  Proprietors,  Novr  2,  1796." 

This  inscription  contradicts  the  information  received  by  Mr.  Peale  from  Dr.  Thornton 
in  regard  to  the  length  of  time  this  canvas  remained  in  this  country,  while  it  enforces  the 
belief  that  it  is  the  picture  supposed  to  have  been  effaced.  The  execution  of  this  picture, 
which  has  been  recognized  without  question  by  connoisseurs,  is  the  best  proof  of  its 
genuineness.  In  the  memoranda  left  by  Stuart  of  ordered  portraits  of  Washington,  we 
find  "  J.  Vaughan,  200.  2  ; "  so  that,  as  he  said  the  first  was  rubbed  out,  it  can  only  be 
supposed  that  he  did  make  the  five  copies  to  which  Peale  testifies,  and  that  this,  if  not 
the  original,  is  a  very  early  copy.  If  Stuart  had  rubbed  it  out,  Winstanley  could  have  had 
no  opportunity  to  copy  it :  if  he  purchased  it,  there  was  no  temptation  at  that  time  for 


Gilbert  Stuart. 


93 


him  to  do  so.  From  the  appearance  of  its  surface,  therefore,  it  is  not  probable  that  he 
even  retouched  it  when  it  came  into  his  hands.  The  engraving  of  it  by  Holloway,  known 
as  the  Vaughan  picture,  appeared  in  the  English  quarto  edition  of  Lavater's  "  Essays  on 
Physiognomy,"  and  another  by  Ridley,  in  1800,  in  "The  European  Magazine." 

Winstanlcy,  who  was  regarded  by  artists  as  unscrupulous,  had  no  reputation  other 
than  that  of  a  landscape-painter ;  and  he  did  not  often  attempt  portraits.1  Two  views  on 
the  Hudson  River, —  "Morning"  and  "  Evening,"  —  which  belonged  to  the  Mount-Vernon 
Collection,  were  by  Winstanley,  who  presented  them  to  Washington.  It  matters  not 
whether  the  statement  that  Winstanley  owned  the  picture  be  false  or  true.  The  date  of 
the  picture  rests  upon  the  testimony  of  the  engraving,  and  establishes  it  as  the  first  picture. 

A  very  handsome  copy  of  the  first  portrait,  facing  to  the  left,  is  now  owned  by  Mrs. 
Anna  R.  Reilly  of  New  Haven,  Conn.  This  lady  is  a  great-grand-daughter  of  the  "gallant 
Irish  captain "  of  the  Revolution,  Gen.  Edward  Hand.  The  picture  was  purchased  in 
Baltimore,  in  1806,  by  Edward  Brien  of  Philadelphia,  who  married  Gen.  Hand's  daughter. 
Thirty  years  ago  the  Historical  Society  of  Baltimore  wrote  to  Mrs.  Brien,  proposing  to 
buy  this  portrait,  as  its  claim  to  being  a  Stuart  was  recognized.  It  is  painted  upon  twilled 
canvas,  and  the  nails  are  also  of  the  same  kind  that  Stuart  always  used.  The  background 
is  rich,  dark  red;  and  the  portrait,  which  was  once  on  exhibition  in  New  York,  is  described 
as  being  "  a  solid  work,  the  color  good,  and  portraying  Washington  as  somewhat  younger 
than  in  Stuart's  other  pictures."  It  has  never  been  engraved,  but  has  been  loaned  to  the 
New  Haven  Art  School.  This  picture  is  another  very  beautiful  reproduction  of  Stuart's 
first  picture ;  and,  as  Mr.  Peale  says,  the  lines  of  the  mouth  are  less  objectionable  than 
in  the  Athenaeum  portrait. 

A  bust  portrait  attracting  attention  at  present  is  the  one  owned  by  Dr.  William  F. 
Channing,  Providence,  R.I.  It  history  is  given  in  a  few  words,  and  it  has  the  distinctive 
position  of  the  Vaughan  picture.  Its  record,  being  well  established,  is  of  significant 
importance.    Dr.  Channing  writes:  — 

.  "The  portrait  of  Washington  in  my  possession  was  sold  by  Stuart  to  his  warm  personal  friend, 
—  my  uncle,  —  Col.  George  Gibbs  of  New  York,  with  the  statement  that  it  was  one  of  two  or  three 
pictures  on  the  easel  while  Washington  was  sitting,  and  was  touched  from  life.  Col.  Gibbs  subse- 
quently purchased  from  Stuart  a  complete  and  uniform  set  of  his  portraits  of  the  Presidents,  and 
then  sold  the  picture  of  Washington  which  I  have  to  his  sister,  —  my  mother,  —  Mrs.  William  E. 
Channing,  who  gave  it  to  me  twenty-five  years  ago.  The  picture,  therefore,  has  never  been  out  of 
our  family  since  it  left  Stuart's  hands.  .  .  .  Miss  Stuart,  upon  seeing  this  portrait,  was  surprised,  and 
exclaimed,  '  It  is  the  picture  I  thought  my  father  destroyed.' " 

1  A  cabinet  full-length  of  John  Adams,  painted  while  he  was  ambassador  to  The  Hague,  1782-85,  by  Winstanley,  is 
in  the  Boston  Museum. 


94  Original  Portraits  of  Washington. 

Dr.  Charming  suggests  that  it  may  have  been  on  the  easel  at  the  time  Stuart  became 
dissatisfied  with  his  first  effort,  and  escaped  destruction  because  it  was  not  finished.  This 
suggestion  commends  itself  as  the  only  just  explanation  of  an  apparent  contradiction. 

It  has  the  characteristics  of  the  portraits,  having  the  same  position  ;  namely,  the  face 
is  not  so  broad,  the  expression  of  the  mouth  is  stronger  and  more  natural,  because  less 
constrained,  and  the  background  is  deeper  and  richer.  The  vividness  of  color  is  per- 
fectly preserved,  and  possesses  all  the  artistic  perfection  of  Stuart's  glowing  brush.  The 
sudden  appearance  of  this  picture  from  comparative  seclusion  was  a  revelation  to  con- 
noisseurs, and  it  was  welcomed  with  enthusiasm.  It  is  a  pity,  as  well  as  a  marvel,  that 
it  has  not  been  more  widely  known.  It  was  greatly  admired,  as  compared  with  others, 
at  die  Exhibition  of  Stuart  Portraits,  1880. 

An  exquisite  engraving  of  it  was  made  by  Charles  Burt  for  the  "  Life  and  Works 
of  Gilbert  Stuart."  A  royal  folio  by  Mr.  Burt  would  be  a  beautiful  addition  to  engraved 
"  Portraits  of  Washington." 

Another  of  these  portraits,  with  the  head  turned  to,  the  left,  similar  to  the  Vaughan 
in  pose  and  drawing,  belonged  to  Mrs.  Hugh  Thompson,  afterwards  wife  of  Professor 
George  Tucker  of  the  University  of  Virginia.  Whether  bought  or  inherited  is  not 
known.  It  became  the  property  of  Professor  Tucker's  two  daughters,  Mrs.  George  Rives 
and  Mrs.  Gessner  Harrison,  who  a  few  years  since  sold  it  to  Mr.  Francis  Robert  Rives  of 
New  York.  Art  critics  declare  that  this  painting  bears  indubitable  marks  of  being 
genuine,  and  is  a  very  beautiful  example  of  Stuart. 

A  portrait,  always  claimed  by  Gen.  Henry  Lee  of  Virginia  to  be  a  Stuart,  is  now 
owned  by  Mrs.  Thomas  H.  Morris  of  Baltimore.  It  was  bought  by  her  late  husband's 
father,  John  B.  Morris,  in  1856,  from  L.  Tiernan  Brien,  and  originally  belonged  to 
Gen.  Lee,  who  conveyed  it  to  William  C,  Somerville  of  Baltimore.  The  late  Col.  Brantz 
Mayer  of  that  city  spoke  of  this  as  resembling  strongly  the  Vaughan  portrait,  with  head 
turned  to  the  left,  making  a  group  of  five  portraits  in  that  position. 

Reproductions  of  the  Athenaeum  head  have  been  grouped  in  cities  or  sections. 

A  bust-portrait,  recognized  in  memoranda  given  by  Miss  Stuart  as  the  one  ordered 

by  "   Smith,  Esq.,  S.  C,"  was  painted  for  Gen.  Benjamin  Smith  of  North  Carolina, 

an  officer  in  the  war  of  Independence,  serving  on  Washington's  staff.  He  was  afterwards 
governor  of  his  State,  and  the  citizen,  who,  earlier  than  any  other,  became  interested 
in  the  educational  advancement  of  North  Carolina,  and  gave  an  estate  of  twenty 
thousand  acres  to  its  development.  He  died  at  Fort  Johnston  in  1824,  and  bequeathed 
the  Stuart  portrait  to  his  relative  and  physician,  Dr.  G.  C.  Clitherall,  U.S.A.,  at  whose 
death,  in  1829,  it  became  the  property  of  his  eldest  child,  Mrs.  Junius  A.  Moore  of  Wil- 
mington, N.  C.  This  lady,  after  the  losses  sustained  in  the  late  war,  feeling  compelled  to 
dispose  of  this  valuable  heirloom,  sent  it  to  S.  P.  Avery,  New  York,  for  sale. 


Gilbert  Stuart. 


See  Page  93. 


Gilbert  Stuart.  95 

One  familiar  with  the  portrait  from  childhood  says  that  "  for  more  than  half  a 
century,  judges  holding  court  at  Smithville,  members  of  the  bar,  officers  of  the  army, 
all  classes  of  educated  people,  were  in  the  habit  of  going  in  parties  to  Gov.  Smith's, 
and  afterwards  to  Dr.  Clitherall's,  to  see  Stuart's  Washington."  This  picture  was  taken 
to  Philadelphia  just  before  the  death  of  Thomas  Sully,  whose  certificate  attached  to  the 
painting  is  terse  and  to  the  point:  "It  is  as  unmistakable  as  my  own  handwriting;  that 
is  the  work  of  my  dear  old  master,  and  one  of  his  best." 

There  are  two  bust-portraits  by  Stuart  in  the  State  Library  at  Richmond,  Va.  The 
first  was  executed  on  an  order  given  the  artist  by  Samuel  Myers  of  that  city,  a  gentle- 
man of  wealth  and  culture.  It  was  bought  for  the  State  at  a  large  price,  upon 
satisfactory  proof  of  its  authenticity.  The  second  has  the  following  history,  furnished  by 
Hon.  Sherwin  McRea.  It  was  presented  to  the  State  by  Mr.  Thomas  Williamson  of 
Norfolk,  Va.,  and  deposited  in  the  library  by  his  son.  This  gentleman  said  the  head 
was  finished  and  the  drapery  sketched  by  Stuart,  who  presented  the  canvas  to  William 
Dunlap.  That  artist  completed  the  work,  and  in  after-years  gave  it  to  Mr.  Williamson, 
by  whom  it  was  given  to  his  native  State. 

In  1825  Col.  Joseph  Tuley  of  Clark  County,  Virginia,  bought  a  Stuart  portrait  at  a 
sale  in  New  York.  It  is  a  three-quarters  reproduction  of  the  Lansdowne,  and  about  the 
size  of  the  Hamilton  portrait.  It  is  now  owned  by  Col.  Tuley's  widow,  who  resides  at 
Winchester,  Va.  It  has  not  yet  been  discovered  for  whom  this  portrait  was  originally 
painted. 

On  the  2d  of  August,  1878,  Miss  Richsa  G.  Etting  presented  to  the  Maryland 
Historical  Society,  through  her  relative  Colonel  Brantz  Mayer,  a  bust-portrait  of  Washing- 
ton by  Stuart,  painted  for  her  father,  Solomon  Etting  of  Baltimore.  When  the  artist  was 
at  work  upon  it,  Miss  Etting  was  a  number  of  times  present  in  his  studio,  watching 
its  progress,  and  upon  one  occasion  was  presented  by  Stuart  with  a  small  but  spirited 
sketch  of  a  horse,  which  she  afterwards  gave  to  Colonel  Mayer.  The  portrait  is  a  gift 
highly  prized,  and  was  received  with  appropriate  ceremonies.  It  hangs  in  the  library 
of  the  society. 

A  bust-portrait  by  Stuart  is  owned  by  S.  M.  Shoemaker  of  Baltimore.  According  to 
the  statement  of  the  present  owner,  it  was  painted  in  1798  for  Moor  Falls  of  Baltimore, 
"  under  a  contract."  It  has  never  been  out  of  the  family.  Mr.  Shoemaker  inherited  it 
from  his  mother,  the  daughter  of  Mr.  Falls.  Another  Stuart  portrait  in  Baltimore  belongs 
to  Edmund  Law  Rogers.  It  is  in  excellent  condition,  and  having  been  painted,  as  this 
gentleman  relates,  con  amove  for  Robert  Barry,  a  friend  of  the  artist,  it  is  exceptionally 
fine.  A  bust-portrait  by  Stuart  is  owned  by  Mrs.  Benjamin  Chew  Howard  of  Baltimore, 
daughter-in-law  of  Col.  John  Eager  Howard.    The  family  tradition  is,  that  Washington 


96  Original  Portraits  of  Washington. 

had  this  portrait  painted,  and  presented  it  to  that  gallant  officer.  It  is  in  good  condition, 
never  having  been  out  of  the  family. 

Stuart  painted  a  portrait  in  Philadelphia  in  1796  for  Hon.  John  Hoye,  then  a 
member  of  the  State  Senate.  At  the  death  of  Mr.  Hoye,  in  1823,  it  fell  into  the 
possession  of  Judge  John  Hoye  Ewing  of  Washington,  Penn.  This  venerable  gentleman 
furnishes  these  facts  in  regard  to  it :  — 

"I  resided  with  Mr.  Hoye  in  1810,  during  my  college-days,  when  I  received  a  history  of  the 
taking  of  the  portrait  from  Mr.  Hoye;  and  there  cannot  be  any  doubt  of  its  correctness.  The 
portrait  shows  for  itself,  as  no  other  at-  that  day  could  have  taken  such  a  work." 

A  portrait  in  Stuart's  best  style  was  executed  for  John  Greenleaf  of  Allentown, 
Penn.     It  was    inherited  by   his  daughter,   Mrs.   Dale,  and  a   few  years  ago  became 

the  property  of  her  lawyer,  Mr.    Felton  of  Philadelphia.     Its  further  history  cannot 

be  traced.  A  lady  once  visiting  Allentown,  having  heard  of  this  portrait,  called  and 
requested  the  favor  of  seeing  it.  A  lovely  old  lady  received  her,  and  in  talking  about 
the  portrait  gave  the  opinions  of  a  past  generation,  and  her  own  as  well.  She  was 
particular  to  place  the  stranger  where  the  best  light  would  fall  on  it,  and  was  quite 
enthusiastic.  The  visitor  shared  the  feeling,  and  did  not  discover,  until  she  was  ready  to 
leave,  that  her  venerable  hostess  was  entirely  blind. 

The  following  bust-portraits  by  Stuart  are  owned  in  Philadelphia :  — 
One  belonging  to  Dr.  Herbert  Norris  differs  in  •  several  points  from  the  Athenaeum 
head,  and  cannot  be  classed  as  a  copy.  The  statement  that  Washington  gave  sittings  for 
it  to  gratify  his  friend,  Mr.  William  Rawle,  the  distinguished  lawyer  and  author,  seems  to 
have  some  support  in  the  difference  between  the  two  works.  It  was  executed  in  1798, 
is  carefully  finished,  and  in  good  condition.  It  descended  to  Mr.  Rawle's  two  daughters, 
Mrs.  William  Craig  and  Mrs.  W7illiam  Herbert  Norris,  by  whom  it  was  given  to  its 
present  owner. 

One  owned  by  Mr.  George  Blight  has  an  interesting  history.  It  was  inherited  by 
him  from  his  uncle,  James  Blight,  who  died  in  1880,  and  gave  these  facts  concerning  it. 
It  was  painted  in  1798  for  James  Oliver,  an  English  merchant  of  Canton.  "It  was  the 
fashion  among  the  English  residents  of  that  city  to  have  some  kind  of  a  portrait  of 
Washington  in  their  parlors ; "  and  Mr.  Blight,  who  went  when  quite  young  to  reside 
with  his  English  relatives  in  Canton,  often  saw  and  admired  this  portrait.  At  the  death 
of  Mr.  Oliver,  he  purchased  it  at  the  executor's  sale,  bringing  it  with  him  to  America 
when  he  returned  in  1835.  It  had  suffered  somewhat  from  changes  of  climate,  but  he 
had  it  restored.  We  feel  justified  in  the  conclusion,  that  from  this  portrait  were  rendered 
the  Chinese  copies  in  glass,  of  which  notice  will  be  made. 


Gilbert  Shiart. 


97 


One  owned  by  Hon.  Peter  McCall  is  said  to  have  been  painted  for  his  uncle,  James 
Gibson,  and  has  now  descended  to  Miss  Jane  Byrd  McCall.  It  was  very  highly  prized 
by  Judge  McCall ;  but  the  colors  are  dimmed  by  injudicious  cleaning.  It  is  for  the 
present  deposited  in  the  Academy  of  Fine  Arts.  One  now  owned  by  Mr.  William  Buchler 
was  purchased  from  Hon.  Samuel  D.  Franks,  and  supposed  to  have  been  painted  for  him. 
It  is  on  a  mahogany  panel,  and  has  been  carefully  restored.  It  was  recently  on  exhibition 
in   Boston,  and  pronounced  to  be  a  fine  work.     One  belonging  to  Mr.  Peter  A.  Brown 

was  sold  by  his  grandson  to  Mr.    Swift,  and  by  that  gentleman   presented   to  the 

Philadelphia  Club. 

One  owned  by  Miss  Wain  was  painted  for  Joseph  Thomas,  from  whom  it  was 
purchased  by  Robert  Wain,  whose  daughter  inherits  it. 

One  painted  for  John  Simpson  of  Philadelphia  was  sold  by  him  to  the  British 
consul,  Gilbert  Robertson,  and  has  descended  to  his  grand-daughter,  Mrs.  John  T. 
Montgomery.  It  is  in  a  remarkable  state  of  preservation,  and  possesses  a  charming 
freshness  of  color. 

Mr.  Edward  Shippen  of  Philadelphia  is  the  possessor  of  a  Stuart-Washington 
presented  to  him  by  an  aunt  who  recently  died  at  the  advanced  age  of  ninety.  She 
inherited  it  from  her  father,  Joseph  Shippen,  who  was  at  one  time  secretary  of  the 
Provincial  Council  of  Pennsylvania,  —  a  stanch  patriot,  and  a  valued  friend  of  Wash- 
ington. This  portrait  was  years  ago  examined  and  recognized  by  Miss  Stuart  as  her 
father's  work  ;  and  it  is  painted  upon  the  well-identified  twilled  canvas  used  by  Stuart. 

Another  copy  of  the  Athenaeum  head,  painted  for  Mr.  Madison,  and  long  familiar  in 
the  elegant  home  of  the  "  great  expounder  of  the  Constitution,"  is  now  owned  by 
Mr.  Edward  Coles  of  Philadelphia.  This  gentleman  says  it  is  not  known  to  be  an 
original  Stuart,  but  if  a  copy  it  is  very  fine.  Some  suppose  it  to  have  been  the  work  of 
Miss  Stuart,  assisted  by  her  father ;  while  others  think  it  was  copied  by  Sully. 

A  Stuart- Washington  was  presented  to  the  Pennsylvania  Academy  of  Fine  Arts  by 
Paul  Beck  in  1845.  ^  nas  been  slightly  damaged  by  fire.  This  picture  was  exhibited 
in  18 14  at  the  Academy  of  Fine  Arts,  Philadelphia,  catalogued  "The  last  work  of 
Mr.  Stuart." 

Robert  I.  Fisher  of  York,  Penn.,  owns  a  portrait  of  Washington  of  which  he 
furnishes  this  record.  It  was  purchased  by  his  father  many  years  ago  from  Matthew 
Henry,  who  was  a  pupil  of  Stuart  when  Washington  gave  him  a  sitting.  The  young 
artist  furtively  made  a  sketch  at  the  time,  of  which  Stuart  so  highly  approved,  that  he 
finished  it,  and  returned  it  to  Mr.  Henry. 

A  bust-portrait,  on  larger  canvas  than  was  ordinarily  used  by  Stuart,  was  painted  by 


93 


Original  Portraits  of  Washington, 


him  for  Gen.  Hunt  of  New  Jersey.  This  descended  to  his  grandson,  Col.  Wesley  P. 
Hunt,  who  a  generation  since  left  it  for  sale  with  a  Philadelphia  dealer.  The  late 
A.  T.  Stewart  became  the  fortunate  purchaser,  and  it  is  now  one  of  the  gems  of  the 
rarest  collection  of  paintings  in  the  United  States.  Its  coloring  is  perfection,  and  the 
modelling  is  in  Stuart's  best  style.  A  connoisseur  would  at  once  be  attracted  by  its 
refinement  of  expression  and  general  excellence.  Thomas  Sully's  indorsement,  as  given 
below,  is  judiciously  bestowed.  The  canvas  is  in  fine  condition,  and  may  last  in  glowing 
beauty  for  centuries.  Sully  presented  a  portrait  of  Washington  to  the  Pennsylvania 
Historical  Society  in  1855,  which  he  copied  from  the  original  by  Stuart,  owned  by 
Col.  Wesley  P.  Hunt  of  Trenton,  N.J.  Mr.  Sully  considered  this  to  be  "next  in  merit 
to  the  Boston  Athenaeum  portrait." 

A  bust-portrait  of  Washington  was  painted  by  Stuart  for  that  accomplished  and 
practically  charitable  gentleman,  Col.  Henry  Rutgers  of  New  York.  It  became  the 
property  of  his  nephew,  William  Crosby,  and  hung  in  the  hall  of  the  old  mansion  at 
Rutgers  Place  until  it  descended  by  inheritance  to  Col.  J.  Schuyler  Crosby,  now  consul 
at  Florence.  The  tradition  in  the  family  is,  that  the  head  was  finished  and  the  body 
outlined  by  Stuart,  and  afterwards  completed  by  another  artist.  The  colors  are  brilliant, 
and  the  canvas  unimpaired.  William  H.  Appleton  has  a  Stuart- Washington  that  has  on 
the  back  an  indisputable  certificate  in  the  hand  of  the  artist. 

"Boston,  9th  Sep'  1800 

Received  of  Charles  Brown,  Five  hundred  dollars  for  a  portrait  of  George  Washington. 

G'  STUART." 

Further  record  is  also  found  inscribed  thus :  — 

"Original  purchased  from  Mr.  Brown  by  Z.  Collins  Lee,  at  Boston,  Aug.  4th  1844." 

Mr.  Appleton  says,  "I  purchased  this  portrait  of  Mr.  Lee,  in  1861,  upon  his  repre- 
sentation. The  face  three-fourths  turning  to  the  left,  —  head  and  shoulders.  One  foot  ten 
inches  by  two  feet  three  inches." 

A  portrait  bought  of  the  artist  about  the  year  1798  by  Mr.  David  Wagstaff  is  now 
owned  by  his  grandson,  Dr.  Alfred  Wagstaff,  New  York.  It  has  never  been  out  of  the 
family,  and  is  considered  a  fine  example  of  the  artist. 

Mrs.  Pruyn  of  Albany,  N.Y.,  owns  a  portrait  of  Washington  by  Stuart,  which  was 
purchased  in  1868  by  her  husband,  the  late  Hon.  John  V.  L.  Pruyn,  from  William  Temple 
Washington  of  Stafford  County,  Virginia.  It  was  painted  in  1797,  and,  until  the  death  of 
Washington,  hung  at  Mount  Vernon.  This  is  said  to  be  the  copy  of  the  work  in  the 
Boston  Museum  of  Fine  Arts,  which  Washington  accepted  in  lieu  of  the  original  which 


Gilbert  Stuart. 


99 


he  ordered.  It  descended  directly  from  him,  through  his  nephew  and  ward,  George  Steptoe 
Washington,  to  the  son  of  the  latter,  William  Temple  Washington.  For  three  years  during 
the  civil  war  this  portrait  was  concealed  for  protection  from  lawless  bands,  but  remained 
in  good  condition,  and  its  tints  are  particularly  fresh  and  lifelike.  The  daughter  of  William 
Temple  Washington,  Mrs.  Jane  Washington  Moncure,  says  that  her  father  inherited  three 
valuable  souvenirs  that  had  belonged  to  Gen.  Washington,  —  a  watch,  which  was  lost  by 
his  guardian  ;  a  sword,  which,  when  impoverished  by  the  war,  he  sold  to  the  United-States 
Government ;  and  the  Stuart  portrait,  now  the  property  of  Mrs.  Pruyn.  Many  anecdotes 
are  related  of  the  hiding  of  this  picture.  At  one  time  it  was  placed  between  the  carpet 
and  matting  on  the  floor  ;  and  it  is  said,  that,  when  in  command  in  that  part  of  Virginia, 
Gen.  Hancock  frequently  walked  over  this  precious  relic. 

Of  the  portrait  presented  by  the  late  Thomas  J.  Bryan  to  the  New- York  Historical 
Society,  no  special  history  has  been  received,  except  that  it  was  esteemed  of  great  value 
by  Mr.  Bryan. 

A  portrait  painted  about  the  year  1797  was  presented  by  Francis  Lightfoot  Lee  to 
Lieut. -Gov.  Samuel  Phillips  of  Andover,  Mass.,  as  a  memorial  of  their  long  friendship 
and  the  great  care  the  latter  had  bestowed  on  the  education  of  the  young  men  of  the 
Lee  family.  It  hung  for  over  sixty-five  years  in  the  same  place,  —  in  the  family  parlor  of 
the  old  Phillips  mansion,  —  as  a  member  of  the  family  phrases  it,  "having  with  us  a  quiet, 
uneventful  life."  The  canvas  has  been  lined,  and  the  painting  is  in  good  condition.  It 
passed  into  the  hands  of  a  great-grand-daughter  of  the  original  owner,  and  has  for  some 
months  (1879)  been  for  sale  in  Boston. 

Stuart  painted,  between  the  years  18 10  and  18 15,  the  portraits  of  the  first  five  Presi- 
dents for  Gov.  George  Gibbs  of  Rhode  Island.  After  his  death  these  works  wrere  purchased 
by  T.  Jefferson  Coolidge  of  Boston.  The  Washington  picture  is  on  a  panel  twenty-six  by 
twenty-two  inches,  and  is  esteemed  a  fine  rendering.  The  statement  that  the  drapery  of 
these  portraits  was  painted  by  Stuart's  pupils  is  contradicted  in  a  certificate,  held  by  Mr. 
Coolidge,  from  the  late  I.  P.  Davis  :  — 

"For  twenty  years  I  was  intimately  acquainted  with  Mr.  Stuart,  and  was  in  the  habit  of  making 
him  weekly  visits,  and  have  a  perfect  recollection  of  his  painting  the  Presidents  for  his  friend,  Col. 
Gibbs  of  Newport,  R.I.,  and  am  satisfied  no  other  person  was  employed  by  him  to  finish  the  drapery. 
All  and  every  part  of  them  are  from  his  pencil." 

A  portrait  which  originally  belonged  to  Gen.  William  McDonald  of  Baltimore  is  now 
owned  by  Hon.  Robert  C.  Winthrop  of  Boston.  It  is  painted  on  a  canvas  twenty-four  by 
twenty-eight  and  a  half  inches,  and  has  never  been  lined.  The  surface  of  the  picture  is 
just  as  the  artist  left  it,  with  no  signs  of  retouching  whatever.    It  descended  from  father 


ioo  Original  Portraits  of  Washington. 

to  son  in  the  McDonald  family  until  the  death  of  the  last  male  heir,  when  it  was  offered 
for  sale  in  Boston. 

Another  set  of  the  Presidents,  painted  by  Stuart  about  the  same  time,  for  Mr.  Doggett, 
was  destroyed  at  the  burning  of  the  Library  of  Congress,  185 1.  They  were  offered  to 
Congress  for  one  thousand  dollars  each  ;  but  the  committee  to  whom  the  matter  was  given 
would  not  allow  more  than  half  that  sum.,  and,  while  the  purchase  was  yet  under  considera- 
tion, the  fire  occurred. 

Hon.  Horace  Gray  of  Boston  is  the  owner  of  another  copy  by  Stuart,  which  he  pur- 
chased in  1872.  It  belonged  to  the  Pinckney  family  of  South  Carolina,  and  it  is  claimed 
to  have  been  presented  by  Washington  to  Charles  Cotesworth  Pinckney.  The  Rev.  Dr. 
Pinckney,  nephew  of  Charles  Cotesworth  Pinckney,  says  that  his  uncle,  "  on  being  pressed 
by  Washington  to  accept  the  mission  to  France,  which  he  was  reluctant  to  do,  told  him, 
that,  if  he  would  allow  him  to  have  a  portrait  of  him  taken,  he  would  accept  the  appoint- 
ment. The  promise  was  given,  the  picture  was  taken  by  Stuart,  and  Gen.  Pinckney  went 
to  Paris." 

Mrs.  Emily  W.  Appleton  of  Boston  gives  a  direct  history  of  a  portrait  belonging  to 
her.  It  was  painted  for  and  owned  many  years  by  her  grandfather,  Jonathan  Mason ; 
was  inherited  in  1833  by  his  daughter,  Susan  Powell  Warren;  and  in  1856  it  became  the 
property  of  Mrs.  Appleton. 

Stuart,  while  residing  in  Boston,  executed,  at  the  request  of  Jonathan  Mason,  a. copy 
of  his  Athenaeum  head  for  Mr.  Cumberland  Williams  of  Baltimore.  It  was  done  in  the 
artist's  happiest  style.  After  the  death  of  Mr.  Williams  it  was  purchased,  at  the  sale  of 
his  effects,  by  Mr.  Thomas  Handasyde  Perkins,  jun.,  of  Boston,  and  is  now  owned  by  his 
son,  Augustus  Thorndike  Perkins.  The  latter  says  it  is  in  good  condition,  and  remains 
in  the  original  frame.  His  grandfather,  Col.  Thomas  Handasyde  Perkins  (who  knew 
Washington  well,  having  in  youth  visited  Mount  Vernon)  often  expressed  his  approval  of 
it,  confessing  it  to  be  "  as  good  as  his  own."  He  referred  to  a  Washington  which  Stuart 
painted  for  him  (now  owned  by  one  of  his  descendants),  and  which  the  old  gentleman  did 
not  believe  could  be  surpassed. 

A  copy  of  the  Athen'seum  bust  is  now  the  property  of  Miss  Carrie  H.  Richardson, 
Louisville,  Ky.  It  was  purchased  as  early  as  1800,  for  Major  Alexander  Parker  of  Lexing- 
ton, Ky.,  by  George  Beck,  of  whom  it  was  said,  "  Beck  may  justly  be  considered  the 
pioneer  artist  of  the  West."  In  1820  Mr.  William  Richardson  of  Louisville  purchased  this 
portrait,  and  it  has  descended  to  his  daughter.  It  has  been  copied  several  times  by 
Matthew  Jouett,  and  is  familiar  to  all  art-connoisseurs  in  that  section  by  reason  of  its 
being  often  in  demand  for  exhibitions.  On  the  back  is  this  certificate  of  two  of  Stuart's 
pupils,  expressing  their  approval  of  it  as  one  of  his  fine  efforts:  — 


Gilbert  Shiart. 


101 


"The  subscribers,  —  the  one  a  Landscape  painter,  the  other  a  Miniature  painter,  pupils  of  Mr. 
Stuart,  —  certify  that  this  picture  is  painted  by  Stuart's  own  hand,  is  an  excellent  likeness  of  the 
Original,  and  is  -done  in  Stuart's  best  manner. 

GEORGE  BECK. 
BENJAMIN   

[The  last  name  is  erased  by  the  wearing  away  of  the  paper.] 
Lexington,  Nov.  is'  1804." 

About  the  year  18 15  Mr.  Lewis  Sanders,  a  prominent  Kentucky  agriculturist,  bought 
from  Stuart,  at  his  studio  in  Boston,  a  copy  of  the  Athenaeum  head,  and  one  of  Stuart's 
portraits  of  Jefferson.  He  sold  both  to  Major  William  S.  Dallam;  and  the  Washington  is 
now  owned  by  that  gentleman's  daughter,  Mrs.  Peter  of  Lexington,  Ky. 

In  1800  or  1 80 1  Stuart  brought  a  portrait  of  Washington  to  the  national  capital,  as 
an  example  of  his  skill,  when  he  came  to  paint  Jefferson  and  his  cabinet,  which  was 
purchased  from  his  studio  by  Col.  John  Tayloe  of  Mount  Airy,  Md.,  and  is  now  owned 
by  the  widow  of  his  son,  Benjamin  Ogle  Tayloe  of  Washington.  Mrs.  Tayloe  proposes  to 
give  it,  with  the  pictures  of  her  valuable  collection,  to  the  city  of  Washington,  to  be  placed 
in  the  Corcoran  Gallery  of  Art. 

During  his  residence  at  the  capital,  Stuart  made  a  copy  of  the  Athenseum  head  for 
Daniel  Carroll  of  Duddington  Manor.  Like  all  other  portraits  of  Washington,  it  has  its 
ardent  admirers.  When  G.  P.  R.  Healy  was  sent  by  the  King  of  France  to  copy  the 
portrait  at  the  White  House,  he  made  a  copy  from  the  Carroll  picture  also,  declaring 
it  the  better  of  the  two.  Upon  his  return  to  England,  having  access  to  the  Lansdowne 
portrait,  he  also  made  a  copy  of  that  in  Tilbury's  warehouse,  London,  where  it  was  stored 
for  a  time. 

In  1796-98  a  portrait  was  painted  by  Stuart  for  John  Chesnut  of  South  Carolina, 
—  the  son  of  James  Chesnut,  a  young  Virginian  who  was  in  Washington's  command,  and 
killed  at  Braddock's  defeat.  In  1 79 1 ,  when  Washington  made  his  laborious  Southern  tour 
as  President,  he  was  the  guest  of  the  Chesnut  family  at  Camden,  S.C.  In  1876  the 
joint  committee  on  the  library  purchased  the  portrait  from  ex-senator  James  Chesnut  for 
twelve  hundred  dollars  ;  and  it  now  hangs  in  the  old  Hall  of  Representatives  at  the  Capi- 
tol. Documents  establishing  its  authenticity  were  placed  in  the  hands  of  the  committee. 
It  was  painted  in  Philadelphia  by  the  consent  of  Washington  ;  and  the  late  owner  says, 
that  "  from  tradition  of  my  ancestors,  and  other  evidence,  I  have  always  believed  it 
to  be  an  original,  and  not  a  copy,  by  Stuart."  It  is  the  portrayal  of  rather  an  older 
man  than  is  represented  in  the  Athenaeum  portrait ;  and,  as  during  his  last  executive 
term  Washington  aged  rapidly,  it  seems  very  probable  that  he  gave  a  sitting  for  the 
Chesnut  picture.    For  three  generations  this  portrait  has  been  esteemed  in  South  Caro- 


102  Original  Portraits  of  Washington. 

lina  as  a  fine  likeness,  and  especially  approved  by  artists.  During  the  late  civil  war  it 
suffered  rough  treatment  in  its  hastily  selected  hiding-places ;  but  it  has  been  carefully 
restored  by  a  skilful  artist  under  the  supervision  of  W.  W.  Corcoran.  Stuart  painted  at 
the  same  time,  in  Philadelphia,  portraits  of  Col.  Chesnut,  his  son,  and  son's  wife,  who 
was  a  daughter  of  Col.  John  Cox  of  Bloomsbury,  N.J.  These  portraits  remain  in  the 
Chesnut  family. 

In  Boston,  in  1825, — a  little  more  than  two  years  before  his  death, — Stuart  painted 
his  last  portrait  of  Washington,  for  Robert  Gilmor,  the  generous  art-patron  and  indefati- 
gable autograph-collector  of  Baltimore.  This,  though  the  last  of  an  interesting  series, 
showed  no  decadence  of  Stuart's  power;  and  he  said  even  later,  "If  I  live,  and  could  have 
my  health,  I  could  paint  as  well  as  I  ever  did."  This  superior  example  of  the  artist's 
skill  is  now  owned  by  Mrs.  Admiral  Dahlgren  of  Washington,  D.C.  About  ten  days 
before  the  sudden  death  of  her  distinguished  husband,  he  remarked  that  he  had  seen  at 
Barlow's  a  fine  Stuart- Washington,  and  was  greatly  tempted  to  purchase  it.  "Why  did  you 
not?"  asked  his  wife.  "I  fear  so  poor  a  man  has  no  right  to  such  a  luxury;  though," 
said  the  brave  officer,  "  I  especially  wished  to  have  it,  in  order,  by  its  constant  contempla- 
tion, it  might  assist  to  inspire  my  boys  with  a  more  ardent  love  for  the  memory  of 
Washington,  and  thus  help  to  make  them  patriotic."  Some  months  later,  in  1872,  Mrs. 
Dahlgren  saw  the  portrait,  and,  remembering  the  admiral's  wish,  purchased  it  for  his 
children.  The  following  receipt,  which  accompanied  a  personal  letter  from  Stuart  in  regard 
to  the  picture,  identifies  the  work :  — 

Received  12  Aug.  1825. 

Of  Rob  Gilmor,  Esq.,  per  R.  Truman,  one  hundred  and  fifty  dollars  for  a  portrait  of  Gen. 
Washington. 
$150. 

G.  STUART. 

An  incident  connected  with  this  portrait  is  well  worth  recalling.  It  has  become  the 
custom  of  the  "  Literary  Society"  of  Washington  City  to  observe  with  appropriate  exercises 
the  birthday  of  Washington.  On  the  22d  of  February,  1879,  the  Society  was  entertained 
by  Mrs.  Dahlgren,  and  among  the  distinguished  guests  were  the  President  and  Mrs.  Hayes, 
members  of  the  cabinet,  and  others.  A  chronicler  of  events,  in  a  notice  of  the  evening, 
wrote  as  follows  :  — 

"  Special  interest  was  excited  by  a  fine  portrait  of  Washington,  by  Gilbert  Stuart,  which  hung 
in  the  front  parlor.  It  was  garlanded  with  flowers,  and  above  it  was  a  floral  tribute  presented  by 
Mrs.  Hayes.  This  was  a  large  wreath  enclosing  the  date  '  Feb.  22 '  in  double  red  geraniums,  the 
initial  letter  '  W  in  fine  white  flowers,  and  the  year  '1732'  in  blue  violets.  Gen.  James  A.  Gar- 
field was  one  of  the  speakers  assigned  for  the  occasion,  and  a  clause  in  his  eloquent  address  is  well 
worth  remembering.  He  said,  'Washington  reverses  the  rules  of  perspective  in  history;  for,  the 
farther  he  recedes,  the  nobler  and  grander  does  his  figure  become.' " 


Gilbert  Stuart. 


103 


Below  is  given  as  correct  a  list  of  original  Stuarts  as  it  has  been  possible  to  collect, 
for  whom  executed,  and  by  whom  now  owned.    Regarding  some  of  these,  the  testimony 

does  not  absolutely  establish  the  claim  made;  but  it  is  sufficient  to  entitle  the  pictures  to 
a  certain  historic  recognition. 

ORIGINALS  :   FOR  WHOM  PAINTED.  PRESENT  OWNERS. 

Samuel  Vaughan,  London   Mrs.  Joseph  Harrison,  Philadelphia. 

Gov.  George  Gibbs,  Rhode  Island   William  F.  Channing,  M.D.,  Providence,  R.I. 

Edward  Brien,  Philadelphia   Mrs.  Anna  R.  Reilly,  New  Haven,  Conn. 

Mrs.  Hugh  Thompson  (?)  Maryland   Francis  Robert  Rives,  New- York  City. 

Richard  Henry  Lee,  Virginia   Mrs.  T.  H.  Morris,  Baltimore. 

The  Marquis  of  Lansdowne   J.  Delaware  Lewis,  London. 

Gilbert  Stuart   Boston  Athenaeum,  Boston. 

William  Constable,  New  York   Henry  E.  Pierrepont,  Brooklyn,  N.Y. 

William  Bingham,  Philadelphia   Pennsylvania  Academy  of  Fine  Arts,  Philadelphia. 

! Gardner  Baker,  New  York   Not  known.  ) 

Not  known   Russell  Sturgis,  London. ) 

Peter  Jay  Munroe   Lenox  Gallery,  New  York. 

State  of  Rhode  Island   State  House,  Providence. 

State  of  Rhode  Island   State  House,  Newport. 

State  of  Connecticut   State  House,  Hartford. 

I.  P.  Davis  (cabinet),  Boston   Ignatius  Sargent,  Brookline,  Mass. 

Not  known  (cabinet)   George  F.  Meredith,  London. 

Alexander  Hamilton  (|  length),  New  York       ....  Alexander  Hamilton,  jun.,  New  York. 

James  Perkins  Sturgis  (^  length)   Russell  Sturgis,  London. 

Not  known  (^  length)   Mrs.  Maria  W.  Tuley,  Winchester,  Va. 

Samuel  Parkman,  for  Faneuil  Hall   Boston  Athenaeum,  Boston. 

Francis  Lightfoot  Lee,  Virginia   Phillips  family,  Andover,  Mass. 

John  Chesnut,  South  Carolina    .......  United-States  Government,  Washington,  D.C. 

George  Washington   Mrs.  J.  V.  L.  Pruyn,  Albany,  N.Y. 

John  Greenleaf,  Allentown,  Penn.   Unknown. 

Solomon  Etting,  Baltimore   Maryland  Historical  Society,  Baltimore. 

Moor  Falls,  Baltimore   S.  M.  Shoemaker,  Baltimore. 

Robert  Barry,  Baltimore     ........  Edmund  Law  Rogers,  Baltimore. 

Paul  Beck,  Philadelphia   Pennsylvania  Academy  of  Fine  Arts,  Philadelphia. 

Thomas  J.  Bryan,  New  York     .......  New- York  Historical  Society,  New  York. 

Gen.  Hunt,  New  Jersey   Mrs.  A.  T.  Stewart,  New  York. 

Gov.  George  Gibbs,  Rhode  Island   T.  Jefferson  Coolidge,  Boston. 

Mr.  Doggett                                                               .       .  Destroyed  by  fire,  Congressional  Library. 

Col.  John  Eager  Howard,  Maryland   Mrs.  Benjamin  Chew  Howard,  Baltimore. 

Joseph  Shippen,  Philadelphia   Edward  Shippen,  Philadelphia. 

Charles  Cotesworth  Pinckney,  South  Carolina    ....  Hon.  Horace  Gray,  Boston. 


Original  Portraits  of  Washington. 


ORIGINALS  :  FOR  WHOM  PAINTED 

William  McDonald,  Baltimore 
President  Madison,  Virginia 
Gen.  Benjamin  Smith,  North  Carolina 
Daniel  Carroll,  Washington,  D.C. 
Major  Alexander  Parker,  Lexington,  Ky 
Lewis  Sanders,  Kentucky  . 
Col.  John  Tayloe,  Maryland 
Jonathan  Mason,  Boston  . 
Joseph  Thomas,  Philadelphia 
William  Rawle,  Philadelphia 
Col.  Henry  Rutgers,  New  York  . 
John  Simpson,  Philadelphia 
Hon.  John  Hoye,  Pennsylvania  . 
James  Oliver,  Canton,  China 
Peter  A.  Browne,  Philadelphia  . 
James  Gibson,  Philadelphia 
Hon.  Samuel  D.  Franks,  Philadelphia 
William  Dunlap  .... 
Samuel  Myers,  Richmond,  Va.  . 
Charles  Browne,  Boston 
Cumberland  Williams,  Baltimore 
Dr.  David  Wagstaff,  New  York  . 
Robert  Gilmor,  Baltimore  . 


PRESENT  OWNERS. 


Hon.  Robert  C.  Winthrop,  Boston. 

Edward  Coles,  Philadelphia. 

Mrs.  Junius  A.  Moore,  Wilmington,  N.C. 

Carroll  family,  Washington,  D.C. 

Miss  Carrie  H.  Richardson,  Louisville,  Ky. 

Mrs.  Peter,  Lexington,  Ky. 

Mrs.  Benjamin  Ogle  Tayloe,  Washington,  D.C. 

Mrs.  Emily  W.  Appleton,  Boston. 

Miss  Wain,  Philadelphia. 

Herbert  Norris,  M.D.,  Philadelphia. 

J.  Schuyler  Crosby,  United-States  Consul,  Florence. 

Mrs.  John  T.  Montgomery,  Philadelphia. 

John  Hoye  Ewing,  Washington,  Penn. 

George  Blight,  Philadelphia. 

Philadelphia  Club,  Philadelphia. 

Miss  Jane  Byrd  McCall,  Philadelphia. 

William  Buchler,  Philadelphia. 

State  Library,  Richmond,  Va. 

State  Library,  Richmond,  Va. 

W.  H.  Appleton,  New  York. 

Augustus  Thorndike  Perkins,  Boston. 

Dr.  Alfred  Wagstaff,  New  York. 

Mrs.  Madeline  Vinton  Dahlgren,  Washington,  D.C. 


The  price  noted  in  Mr.  Gilmor's  receipt  was  that  charged  by  Stuart  for  his  later  por- 
traits. These  works,  as  has  often  been  demonstrated  in  good  art-investments,  have  steadily 
advanced  to  more  than  tenfold  their  first  value ;  instances  being  known  where  from  fifteen 
hundred  to  two  thousand  dollars,  and  in  one  case  three  thousand  dollars,  have  been  refused 
for  them. 

In  investigating  this  subject,  more  portraits  accredited  to  Stuart  have  been  discovered 
and  presented  than  the  artist  recognized  or  remembered.  Such  claims  must  of  course  be 
determined  by  the  authority  as  to  their  genuineness  in  possession  of  their  owners. 

Stuart,  though  he  sometimes  dated  his  pictures,  rarely  placed  his  name  upon  them. 
He  said  with  pride  and  playfulness,  as  reported  by  his  daughter,  that  "his  'totem'  was 
on  their  faces." 

The  attachment  felt  for  Stuart's  Washington  often  descends  from  father  to  son  for 
generations;  and  the  vacillation  of  fortune  in  our  republic  cannot  better  be  illustrated 
than  by  the  fact  that  only  a  small  proportion  of  these  portraits  —  the  Constable,  the 
Hamilton,  the  Sturgis,  the  Lewis,  the  Shippen,  the  Gibbs,  the  Howard,  the  Wagstaff,  the 


Gilbert  Stuart  105 

Mason,  the  Tayloe,  and  the  Carroll  —  remain  in  the  possession  of  the  families  for  whom 
they  were  painted. 

Illustrative  of  the  feeling  of  affection  referred  to,  an  anecdote  is  related  of  Hon. 
Ezekiel  Gilbert,  a  member  of  Congress  from  Columbia  County,  New  York,  who  died  in 
1842.  This  gentleman  held  the  original  in  such  veneration  that  he  requested  to  have  the 
picture  exhibited  to  his  fading  gaze,  "  as  it  was  the  last  object  he  desired  to  behold  on 
earth."  This  is  the  only  portrait  of  which  the  author  has  had  any  knowledge  whose 
history  she  has  been  unable  to  trace  ;  even  though  an  engraving. 


COPIES   OF  STUART'S  WASHINGTON   BY  OTHER  ARTISTS. 

There  is  a  fine  copy,  by  Vanderlyn,  of  Stuart's  full-length,  on  the  right  of  the  speaker's 
chair  in  the  Hall  of  the  House  of  Representatives.  This  was  ordered  by  Congress  ;  and 
upon  its  completion  the  committee  to  whom  the  account  was  referred  increased  the  price 
agreed  upon  from  twelve  hundred  to  fifteen  hundred  dollars,  —  an  unusual  instance  of 
appreciation  in  government  patronage.  The  Department  of  State,  in  1865,  purchased  of 
Samuel  P.  Avery  a  copy  of  Stuart's  full-length,  the  work  of  John  Woodhouse  Audubon, 
which  was  presented  to  a  foreign  ambassador. 

A  copy  by  Rembrandt  Peale  is  in  the  possession  of  the  Washington  Grays,  Philadel- 
phia. A  full-length  copy,  by  Walter  Ingalls,  is  in  the  State  House  at  Concord,  N.H. 
Sully,  Leutze,  Chapman,  Chappell,  Darley,  and  Morrell  have  accepted  Stuart's  head  as 
their  chief  model,  but  have  generally  gone  to  Trumbull  for  the  full  figure. 

Among  the  curious  imitations  or  translations  of  Stuart  is  one  known  as  the  "  Pitcher 
Portrait,"  a  clear  copy,  on  queen's-ware,  of  Nutter's  engraving  of  the  head  of  the  Lansdowne 
portrait.  In  1801  large  numbers  of  these  pitchers  were  brought  to  Philadelphia,  and  before 
they  attracted  much  attention  were  sold  to  the  country  dealers.  Nearly  all  that  remained 
were  broken,  for  the  purpose  of  obtaining  the  likeness  to  frame  ;  but,  of  the  pitchers  that 
were  left,  one  was  presented,  July  8,  1868,  by  Miss  Harriet  A.  Thaw,  to  the  Historical 
Society  of  Pennsylvania.  One  of  the  pictures,  framed  soon  after  the  importation,  is  owned 
by  Mr.  Ellison  P.  Morris,  No.  21,  North  Seventh  Street,  Philadelphia,  the  residence  of 
Washington  in  1793,  when  Congress,  fleeing  from  yellow-fever,  removed  to  Germantown. 
Mr.  Morris  says  the  "  Pitcher  Picture  "  has  been  a  prized  relic  in  the  family  for  four  genera- 
tions, and  that,  when  these  representations  "  were  so  highly  approved,  more  were  ordered  ; 
but  the  mould  had  been  broken,  and  they  never  succeeded  in  getting  another  satisfactory 
one."  Another  is  owned  in  Baltimore ;  a  third,  by  a  lady  in  Washington  ;  and  still  another 
is  in  the  collection  of  the  New- York  Historical  Society.  Judge  Hagner  of  Washington 
exhibited  one  of  these  portraits,  which  had  been  broken  out  and  framed,  in  the  "Wash- 
ington Room"  at  a  loan  exhibition  held  at  Washington,  D.C.,  in  the  spring  of  1881. 


106  Original  Portraits  of  Washington. 

One  of  these  pictures,  in  a  broad  gilt  frame,  hung  for  many  years  at  Mount  Vernon. 
It  was  presented  by  Mr.  Dorsey  of  Philadelphia  to  Judge  Bushrod  Washington,  and  upon 
the  back  was  a  copy  of  the  celebrated  eulogy  on  Washington  first  written  by  an  English 
gentleman  on  a  crayon  portrait  by  Sharpless.  This  portrait  is  now  owned  by  the  son  of 
John  Augustine  Washington,  —  Lawrence  Washington  of  Salem,  Va.  It  was  shamelessly 
taken  from  "  Waveland,"  his  country  residence,  during  the  war,  by  a  cavalry  officer,  who 
was  afterwards  captured  and  held  in  Richmond  until  the  portrait  was  returned,  by  flag  of 
truce,  to  the  owner  in  that  city. 

Miss  Jane  Stuart  gives  the  history  of  another  "Pitcher  Portrait."    She  says, — 

'"'Edward  A.  Newton,  a  nephew  of  Mr.  Stuart,  who  was  in  England  on  business,  commissioned 
my  father  to  paint  him  a  Washington  for  the  especial  purpose  of  having  it  copied  on  China  pitchers 
at  Liverpool,  and  had  some  dozen  struck  off  to  send  to  his  friends  in  America." 

The  pitcher  belonging  to  Mrs.  Ellen  Ward  Miller  is  doubtless  one  of  these,  being 
finer  ware  than  the  first-mentioned  ;  and  her  father  stated  that  he  traced  it  to  "a  lot  of 
twelve"  which  had  been  ordered  to  America.  It  is  thus  noticed  in  a  recent  historical 
record  :  — 

"  One  of  the  famous  '  Washington  Pitchers,'  bearing,  as  it  has  been  conceded,  one  of  the  most 
faithful  likenesses  of  Washington,  was  in  the  library  of  the  late  L.  T.  Ward  of  Pennsylvania,  and  formed 
one  of  the  many  valued  relics  of  his  unique  collection.    It  is  still  in  the  possession  of  the  family." 

Another  interesting  imitation  or  reproduction  of  Stuart,  a  triumph  of  the  French  loom, 
is  in  the  City  Hall,  New  York,  and  rivals  in  effect  the  finest  steel  engraving.  An  inscrip- 
tion, woven  in  gold  letters  on  black,  gives  its  history  as  follows:  — 

"Presented  to  the  City  of  New  York,  by  the  proprietors,  Ponson  Philippe  &  Vibert.  This 
portrait  is  silk,  woven  throughout  on  the  Jacquard  loom,  —  its  cost  was  $10,000,  —  two  years  was 
required  in  its  manufacture.    Presented  by  Hon.  C.  S.  Goodrich,  U.  S.  Consul,  Lyons,  France.  1855." 

This  exceptionally  curious  memento  is  in  a  gilt  frame  ornamented  with  a  delicate 
tracing  of  flowers,  surmounted  by  an  eagle  displayed. 

As  previously  suggested,  the  portrait  owned  by  Mr.  George  Blight  must  have  been 
the  one  so  ingeniously  reproduced  in  glass  at  Canton  by  a  process  not  known  except  to 
the  Chinese.-  The  copy  is  the  size  of  the  original,  —  twenty-five  by  thirty  inches,  —  and  the 
work  is  indescribably  delicate  ;  the  transfer  of  line,  color,  and  expression  being  wonderful. 
A  number  of  these  glass  portraits  were  brought  to  America  early  in  the  century  by  Capt. 
Sword,  an  East-India  merchant.  When  Stuart  heard  of  their  being  offered  for  sale,  he 
issued  an  injunction  for  infringement  of  copyright  law,  as  he  was  just  then  suffering 
from  the  cruel  injustice  of  the  Heath  engraving. 


Gilbert  Stuart. 


107 


One  of  them  came  into  possession  of  the  late  William  Welsh  of  Philadelphia,  in  whose 
family  it  remains.  His  brother,  Hon.  John  Welsh,  says,  "  They  were  good  copies  and  well 
executed,  and  had  the  peculiarity  of  being  painted  on  the  under  side  of  the  glass,  —  an 
art  which  is,  I  believe,  not  practised  here."  Another  is  owned  by  Hon.  Nathaniel  Hol- 
land, San  Francisco,  who  twenty-five  years  ago  took  it  to  California  from  Philadelphia, 
where  it  had  long  been  in  possession  of  his  family. 

A  great  deal  has  been  said  about  Stuart's  patriotic  motives  in  painting  the  portraits 
of  Washington  ;  but  the  well-established  fact  of  his  refusing  to  complete  the  Athenaeum 
heads,  because,  "when  finished,"  they  were  to  be  sent  to  the  family  at  Mount  Vernon, 
and  that  he  dashed  off  copies  carelessly  and  commercially,  jocosely  terming  them  his 
hundred-dollar  bills,"  constrain  the  impartial  critic  to  conclude  that  there  was  a  large 
proportion  of  personal  consideration  mingling  with  his  feelings  of  patriotism.  No  one  can 
study  Stuart's  Washingtons  without  regret  at  their  number,  and,  in  some  instances,  at 
their  want  of  care  in  treatment.  Yet,  however  good  or  bad,  the  possessor  of  such  a  work 
at  this  date  is  to  be  congratulated.  Not  only  has  each  one  a  personal  record ;  but  a 
distinguishing  trait  of  this  artist  is  that  the  splendor  of  his  coloring  is  softened,  not  dimmed, 
by  years.  Stuart  relates  how  he  felt  confused  in  the  presence  of  Washington,  and  his 
great  difficulty  in  "  getting  at  him."  Probably  he  never  was  perfectly  at  ease  with  his 
subject.  This  is  illustrated  by  an  anecdote  which  Stuart  related  to  a  gentleman  in  Phila- 
delphia, who  published  it  in  "The  Evening  Journal,"  of  that  city,  March,  1857. 

"  When  Washington  took  his  seat,  Stuart  said,  '  Now,  sir,  you  must  let  me  forget  that  you  are 
Gen.  Washington,  and  that  I  am  Stuart  the  painter.'  The  President  replied,  'Mr.  Stuart,  the  painter 
need  never  feel  the  need  of  forgetting  either  who  he  is,  or  who  Gen.  Washington  is.'  Doubtless 
the  reply  was  meant  in  courtesy  ;  but  Stuart  said  it  so  prevented  the  flow  of  his  own  feelings  as  to 
seriously  affect  the  portrait." 

There  is  every  assurance  that  no  production  of  his  artistic  career  received  from  Stuart 
more  earnest  effort  than  the  painting  of  his  originals  of  Washington  ;  yet,  strange  to  say, 
it  is  painfully  apparent,  in  a  collection  of  his  works,  that  his  Washington  portraits  are  not 
so  fine  as  those  of  less  illustrious  subjects.  If  Stuart  had  bequeathed  to  this  country  a 
"  counterfeit  presentment "  of  Washington  of  such  strength,  beauty,  and  life  as  that  he 
produced  of  Judge  Stephen  Jones,  —  a  self-made,  honest  worthy, —no  words,  no  price,  no 
gratitude,  could  measure  its  value. 


io8 


Original  Portraits  of  Washington. 


ENGRAVINGS. 

The  engravings  of  Stuart's  Washingtons  outnumber  fivefold  those  of  any  other  artist. 
From  Cornelius  Thebout  to  William  E.  Marshall,  nearly  every  American  engraver  of  ability 
has  made  a  plate  after  one  or  more  of  Stuart's  heads.  No  artist  has  been  so  popularized 
by  the  burin,  and  certainly  none  suffered  so  great  an  injustice  as  Stuart  by  the  premature 
publication  of  the  Lansdowne  portrait.  The  story  is  known  wherever  the  fame  of  the 
painter  has  reached :  so  there  is  some  compensation  in  the  fact  that  this  act  of  piracy  has 
made  its  perpetrator  notorious.  It  appears  that  Stuart  took  the  precaution  of  instructing 
Mr.  Bingham  to  reserve  the  right  to  engrave  this  work  when  it  was  sent  to  England ; 
but  that  Qrentleman  neglected  to  note  the  matter  in  his  communication  with  Lord  Lans- 
downe.  As  soon  as  Heath,  "  engraver  to  his  Majesty,  and  to  his  Royal  Highness  the 
Prince  of  Wales,"  could  obtain  permission  of  Lord  Lansdowne,  he  not  only  made  the 
engraving,  but,  with  an  evident  determination  to  make  the  theft  a  success,  he  inscribed 
on  the  prints,  "  Copyright  secured  in  the  United  States  according  to  law."  There  was  no 
redress  for  the  artist.  Heath's  print,  which  was  of  large  size, —  19  X  13, —  was  creditably 
executed,  and  warmly  welcomed  by  the  people  of  this  country.  It  was  widely  advertised  ; 
and  cards,  like  the  following  in  "The  Museum  and  Washington  and  George-Town  Adver- 
tiser" (George-Town  (Potomak)  Wednesday  Jan.  28th  1801),  appeared  in  all  the  leading 
journals  of  the  day :  — 

PORTRAITS 

OF 

GENERAL  WASHINGTON, 

Engraved  by  the  celebrated  Heath  of  London,  from  an  original,  painted  by  G. 
Stewart,  just  come  to  hand  and  for  sale  by  the  subscriber,  directly 
opposite  the  Methodist  Meeting-house,  George-Town. 

T.  WATERMAN. 

The  above  are  executed  in  a  fuperior  ftilc  of  elegance  and  fuperbly  framed  and  glazed. 
December  24. 

David  Edwin  was  not  only  a  devoted  admirer  of  Stuart,  but  engraved  his  Washington 
more  frequently  and  with  success  equal  to  any  other  artist.  On  one  small  print  by  Edwin 
appears  a  star,  above  which  is  "  Centennary  Anniversary;"  below,  "Feb.  22,  1832,"  and 
the  words,  "We  perpetuate  the  fine  arts."  "Printed  during  the  Procession  by  the  Associa- 
tion of  Copper-plate  Printers."  The  procession  in  the  line  of  which  these  engravings 
were  printed  was  in  Philadelphia,  in  celebration  of  Washington's  centennial  birthday ;  and 
the  possessor  of  one  of  the  prints  may  be  considered  fortunate. 

One  of  the  finest  small  plates  of  the  Athenaeum  head,  that  by  Joseph  Andrews,  was 


Gilbert  Stuart 


destroyed  by  fire  in  Boston  in  1872.  The  large  engraving  by  Welch,  now  becoming  rare, 
is  an  admirable  work.  It  is  20  X  18,  and  bears  the  following  inscription:  "Engraved  by 
Thomas  B.  Welch  (By  Permission,)  From  the  only  original  Portrait  by  Gilbert  Stuart  in 
the  Athenaeum  Boston.  Published  by  George  W.  Childs,  Philadelphia  (copyright,  1852)." 
Mr.  William  S.  Baker,  the  best  authority  upon  engraved  heads  of  this  country,  says  this 
print  is  "  the  most  important  work  of  the  engraver,  and  a  very  close  rendering  of  the 
original."  Durand's  print  was  published  in  "  The  Writings  of  George  Washington"  by 
Jared  Sparks.  Prints  of  varied  degrees  of  excellence  have  been  executed  by  Hall,  Burt, 
Doolittle,  Holl,  Sartain,  Ormsby,  H.  Wright,  Smith,  and  Holloway.  Stuart's  head  of 
Washington  has  been  engraved  by  the  United-States  Government  for  the  one-dollar 
"greenback"  notes,  and  is  used  upon  postage-stamps,  where  the  full  face  is  seen. 

A  very  beautiful  colored  cabinet  engraving  by  Cornelius  Thebout  is  now  owned  by 
Mrs.  Kennon  of  Tudor  Place,  Georgetown,  D.C.  It  was  bequeathed  to  Mrs.  Martha  Parke 
Peter  by  Mrs.  Washington,  and  designated  in  her  will  as  "  the  print  of  General  Washing- 
ton hanging  in  the  passage."  The  engraver,  par  excellence,  of  Stuart  is  William  E.  Mar- 
shall, whose  exquisite  translation  of  the  Athenaeum  head  is  destined  to  rank  with  those 
beautiful  old  portraits  that  have  made  the  fame  of  artists.  A  study  of  the  entire  collec- 
tion of  the  engraved  heads  of  Washington  after  Stuart  gives  a  "liberal  education"  in  the 
possibilities  of  modern  portrait-prints. 


WILLIAM  BIRCH. 


ENGLAND. 

1760-1834. 

N  English  enamel-painter;  came  to  America  in  1794.  He  had  received  a 
medal  from  the  Society  of  Arts  in  London,  where  he  had  been  successful 
in  perfecting  the  process  "of  enamelling.  His  first  commission  after  his 
arrival  was  from  Charles  Willson  Peale,  who,  to  encourage  a  stranger  ancl 
brother-artist,  employed  Birch  to  paint  his  own  miniature  in  enamel  ;  but  it  was  not  a 
good  likeness,  and  its  only  merit  was  that  of  its  being  the  first  enamel  made  in  this 
country.  He  visited  many  cities,  and  was  successful  in  producing  very  delicate  work: 
enamel-miniatures  soon  became  the  style  for  brooches  and  bracelets. 

Birch  was  anxious  to  have  the  privilege  of  a  sitting  from  Washington :  but  the 
patience  of  the  President  in  that  direction  had  been  exhausted,  and  he  refused  to 
allow  him  the  favor  ;  but  he  finally  permitted  the  artist  to  remain  in  his  cabinet  whilst 
he  was  engaged  with  his  papers.  Birch  gladly  took  advantage  of  this  offer,  and  made  a 
crayon- sketch :  from  this  he  produced  several  exquisite  enamel-miniatures  cabinet-size.  It 
is  said  he  aided  his  own  outlines  by  a  close  study  of  Stuart's  first  portrait ;  but  it  is  not 
probable  that  he  then  had  the  opportunity,  either  of  copying  or  studying  that  work: 
though  the  head  is  so  like  the  great  artist,  that  the  conclusion  would  be  readily  accepted. 

A  rare  old  print  in  possession  of  the  author  quaintly  testifies  the  originality  of  the 
work,  again  furnishing  an  instance  where  an  engraver  enforces  the  claims  of  a  painter. 
It  is  thus  inscribed  :  — 

"  His  Excellency,  Geo.  Washington.  Engraved  by  J.  G.  Walker.  From  a  picture  by  Wm  Birch, 
1796.  Painted  from  life  in  t lie  office  of  His  Excellency,  The  Gen1,  by  the  request  of  I.  G.  Von 
Staphorst,  Esqr  of  Amsterdam,  in  whose  possession  is  the  Original  Portrait.  To  I.  G.  Von  Stap- 
horst,  Esqr  the  particular  friend  of  the  General,  this  Print  is  with  permission  most  respectfully 
Inscribed,  by  his  Obliged  and  Obed'  Servant,  J.  G.  Walker." 

This  engraving  has  on  either  side  an  ornamental  rectangle,  —  above,  the  sun  shining 
through  clouds  ;  below,  a  beautiful  vista  of  mountain  and  stream  ;  in  the  foreground  kneels 

no 


Plate  XVI. 


Robert  Field. 

See  Page  115. 


P.  A.  Peticolas. 

See  Page  142. 


1 


William  Birch.  1 1 1 

a  woman,  holding  in  her  right  hand  the  fasces,  with  an  arm  thrown  around  a  nude  child, 
who  upon  a  pole  holds  aloft  a  liberty-cap.  The  square  containing  miniature  is  close  line 
work,  2\  X  3  inches.  The  head  three-quarters  to  right,  full  bust,  and  dress  the  same  as 
Stuart's  first  portrait. 

Another  of  these  enamel-miniatures  is  owned  by  Mrs.  Susan  Washington  Edwards, 
Maryland,  inherited  by  her,  and  entailed  to  her  children's  children.  It  was  taken  through 
the  strategy  of  that  gallant  officer  of  the  Revolution,  Gen.  William  Macpherson.  Wash- 
ington had  deferred  from  time  to  time  a  promised  sitting,  when  one  day  Macpherson, 
becoming  impatient,  invited  him  to  dine  with  one  or  two  friends.  A  large  screen  con- 
cealed the  artist  and  his  implements.  When  the  wine  came  on,  an  especially  interesting 
and  a  very  long  story,  reserved  by  the  host,  was  related  by  an  old  comrade.  The  President 
became  absorbed,  and  the  drawing  was  successfully  made;  and  when,  in  a  few  days,  the 
miniature  was  completed,  it  was  shown  to  Washington,  and  the  ruse  explained.  This  relic 
has  never  been  out  of  the  Macpherson  family ;  and  the  casual  observer  would  be  apt  to 
consider  it  a  fine  achievement  in  color  by  Gilbert  Stuart. 

James  McHenry  of  Maryland,  who  was  Washington's  military  secretary,  was  appointed 
by  him  secretary  of  war  in  1796.  About  that  time  he  bought  a  cabinet-miniature  of 
Washington  by  Birch,  selecting  from  several  in  the  artist's  studio,  and  esteeming  it  the 
finest  likeness,  notwithstanding  it  was  somewhat  disfigured  by  a  crack  in  the  enamel. 
This  work  has  been  inherited  by  J.  Howard  McHenry  of  Baltimore,  Md.,  by  whom  it  was 
entered  at  a  recent  loan  exhibition  at  the  Peabody  Institute  in  that  city.  It  is  a  three- 
quarters  face,  and  is  said  in  outline  to  be  drawn  precisely  like  the  first  Stuart,  though 
the  unpleasant  impression  arising  from  the  false  teeth  is  happily  avoided.  The  costume 
is  of  brown  velvet,  with  lace  ruffles  ;  the  hair  is  powdered,  and  worn  in  a  queue  ;  and 
the  complexion  is  rich,  but  not  too  florid. 

Charles  G.  Barney  of  Richmond,  Va.,  owns  a  cabinet-miniature  enamelled  on  copper, 
which  is  a  facsimile  of  the  one  purchased  by  Gen.  McHenry.  The  artist's  name,  and 
the  date,  1797,  are  painted  on  the  back.  It  is  not  known  to  whom  it  first  belonged; 
but  the  present  owner  values  it  so  highly,  that  he  took  it  out  of  the  original  frame, 
when  he  had  to  run  the  gauntlet  after  the  evacuation  of  Richmond,  and  secreted  it  on 
his  person.  A  few  impressions  were  taken  of  a  fine  engraving  of  this  portrait  by  Hall, 
and  the  plate  destroyed.  It  appeared  in  the  "Washington  Number"  of  "The  Magazine  of 
American  History,"  February,  1879.  A  miniature  by  Birch  of  Washington,  the  property 
of  a  Mr.  Lyle  of  Dublin,  was  sent  in  1876  for  exhibition  at  the  Academy  of  Fine  Arts, 
Philadelphia.  A  catalogue  (18 14)  of  an  exhibition  at  the  Academy  of  Fine  Arts,  Phila- 
delphia, notes  "  A  portrait  of  Washington  (enamel)  from  Stuart.  W.  Birch."  An  enamelled 
miniature  on  copper,  supposed  to  be  after  Birch,  was  executed  in  1796  by  W.  Bone, 
enameller  to  George  III. 


I  I  2 


Original  Portraits  of  Washington, 


Birch  was  a  fine  engraver,  and  it  is  to  be  regretted  that  he  made  no  prints  of  his 
own  miniatures  of  Washington.  Not  more  than  half  a  dozen  engravings  of  these  are 
known;  among  them  a  happy  rendering  by  David  Edwin,  which  may  be  seen  in  "The 
American  Artillerists'  Companion  "  —  Louis  De  Tousard,  1809.  A  very  rare  engraving,  pub- 
lished in  London  in  1800,  introduces  another  portrait  of  Washington,  differing  materially 
from  the  enamel-picture,  showing  the  hand  thrust  into  the  breast  of  his  coat.  According 
to  the  inscription,  the  original  was  "  Painted  by  W.  Birch  Esq.  Carolina."  The  artist  resided 
in  the  South  for  a  short  time.  The  engraving--  has  the  following  dedication:  "This  Plate 
is  Humbly  Dedicated  to  the  Friends  of  the  above  Gentleman  by  their  most  obedient 
Humble  Serv'  P.  Roberts." 


WALTER  ROBERTSON. 


IRELAND. 

HIS  artist  came  to  America  in  the  same  vessel  with  Stuart,  and  painted  a 
miniature  of  Washington  before  Stuart  had  obtained  a  sitting.  Of  its  history 
nothing  can  be  learned,  except  that,  just  before  sailing  for  India  in  1795,  he 
proposed  to  sell  it  to  Field  for  the  purposes  of  engraving.  Field  said  of  it, 
"  It  is  as  good  a  likeness,  and  as  fine  a  piece  of  painting,  as  I  ever  saw  ;  "  yet  he  could 
not  agree  to  give  the  price  —  a  thousand  dollars — asked  for  it.  That  this  miniature  was 
original  was  doubted  by  Dunlap,  because  of  the  black  cravat,  which,  it  is  said,  Washington 
never  wore.  In  such  matters,  however,  we  find  that  writer  too  arbitrary,  and  prefer  to 
accept  the  testimony  of  Field  and  other  engravers,  such  as  Houston,  Rollinson,  and  Tisdale. 
Nearly  all  accurate  record  of  this  painting  is  through  Field's  full-size  print  1 1  X  9.  It  is 
a  bust,  head  to  right,  in  military  dress,  with  a  black  neckerchief.  The  plate,  significantly 
and  elaborately  decorated,  was  designed  by  Barralet.  It  is  an  oval,  bordered  with  diverging 
rays,  small  scrolls,  and  a  wreath  of  laurel.  A  sword  extends  from  the  top  of  the  oval, 
upon  the  point  of  which  is  a  liberty-cap  inscribed  "  Libertas."  On  a  cloud  beneath  is  an 
eagle,  holding  in  his  beak  a  ribbon,  which  extends  over  his  wings,  and  displays  the  motto, 
"  E  Pluribus  Unum  ;  "  while  at  each  side  are  flags,  and  branches  of  palm.  The  inscription 
is,  "Painted  by  W.  Robertson.  Jon.  Jas.  Barralet  Invenit  1795.  Engrav'd  by  R.  Field. 
Published  by  Walter  Robertson,  PJiiladclphia  &  New  York  Ist  August  lygs"  The  engraving 
is  finely  executed,  and  the  portrait  is  good  ;  but  the  ornate  surroundings  detract  from  the 
beauty  of  the  print. 


JOHN  RAMAGE. 


IRELAND. 

OHN  RAMAGE  painted  miniatures  of  Gen.  and  Mrs.  Washington,  which  the 
latter  highly  approved,  wearing  that  of  her  husband  in  a  brooch,  and  in 
after-years  (so  family  tradition  testifies)  giving  it  to   one  of  her  grand- 
daughters ;  while  other  authority  suggest  that  it  is  the  miniature  given  by 
her  to  Col.  Lear. 

In  a  diary  of  Washington  he  made  this  entry:  — 

"  Saturday  the  Jrd  (of  October,  ijSg).  —  Sat  for  Mr.  Rammage  near  two  hours  to-day,  who  was 
drawing  a  miniature  picture  of  me  for  Mrs.  Washington." 

Dunlap  thought  very  highly  of  this  artist's  works,  and  his  personal  description  of  him 
is  worth  quoting  :  — 

"  Mr.  Ramage  was  a  handsome  man  of  the  middle  size,  with  an  intelligent  countenance  and 
lively  eye.  He  dressed  fashionably,  and,  according  to  the  time,  beauishly, — a  scarlet  coat  with 
mother-of-pearl  buttons,  a  white-silk  waistcoat  embroidered  with  colored  flowers,  black  satin  breeches, 
and  paste  knee-buckles,  white  cocked  hat  covering  the  upper  portion  of  his  well-powdered  locks, 
leaving  the  curls  at  the  ears  displayed.  A  gold-headed  cane  and  gold  snuff-box  completed  his 
costume." 


ROBERT  FIELD. 


ENGLAND. 

'HIS  engraver  and  amateur  painter  executed  three  miniatures  of  Washington, 
and  one  of  his  wife.  Field  is  better  known  as  an  engraver,  but  his  minia- 
tures are  excellent.  He  was  on  a  visit  to  Mount  Vernon  in  1798,  and  made 
his  life-studies  there.    The  one  taken  at  that  time  of  Washington  descended 

o 

from  Mrs.  Lawrence  Lewis  to  her  grandson,  Lawrence  Lewis  Conrad,  Baltimore.  This 
gentleman  has  three  certificates  establishing  beyond  question  its  claim  to  originality. 
Probably  a  more  exquisite  work  will  not  be  found  in  the  entire  collections  of  miniatures. 
It  is  on  ivory,  and  remains  in  the  plain  gold  case,  with  a  lock  of  Washington's  hair 
plaited  in  the  back. 

Dunlap  and  other  writers  of  the  day  are  not  inclined  to  allow  that  these  paintings 
were  original ;  but  there  could  be  little  doubt  that  Field  would  improve,  even  by  stealth, 
such  opportunity  as  he  enjoyed;  and  there  is  an  individual  touch  and  pose  that  strengthen 
this  view.  Their  delicate  finish  and  charming  tints  challenge  the  admiration  of  the  most 
fastidious.    They  are  marked  "  R.  F." 

Field's  second  miniature,  with  the  same  initials,  is  owned  by  Mrs.  Wilson  Eyre  of 
Newport,  R.I.  It  is  either  not  so  well  preserved  in  color,  or  was  not  so  highly  toned ; 
but  in  other  respects  it  is  the  counterpart  of  the  first. 

It  was  worn  by  Mrs.  Washington  in  a  locket,  and  immediately  after  her  husband's 
death  was  presented  by  her  to  Col.  Lear.  It  is  set  in  a  heavy  plain  gold  case,  and  on  the 
back  is  inserted  a  lock  of  Washington's  hair.  On  the  satin  lining  of  the  case  is  written,  in 
characters  rather  indistinct,  "  Presented  to  T.  Lear,  by  his  friend,  Mrs.  Washington,  1801." 

This  miniature  has  been  wrongly  attributed  to  Archibald  Robertson  ;  but  the  drawing 
is  decidedly  the  work  of  another  pencil,  not  possessing  the  vigor  of  the  Scotch  artist.  In 
drawing,  it  is  very  like  Stuart,  with  the  exception  of  the  mouth,  which  is  far  better.  It  is 
in  all  respects  a  counterpart  of  the  miniature  known  to  have  been  painted  by  Field,  owned 
by  Mr.  Charles  C.  Moreau,  the  enthusiastic  collector  of  engraved  heads  of  Washington. 
Therefore  it  cannot  be  admitted  that  "  R.  F."  stands  for  Romagc  fecit,  nor  for  Robertson 
fecit,  as  thought  by  some.  Mr.  Moreau  has  in  his  possession  the  following  letter  from  a 
former  owner,  giving  the  history  of  the  painting :  — 

"5 


1 1 6  Original  Portraits  of  Washington. 


New  York,  Oct.  15,  1858. 

Mr.  Moreau. 

Dear  Sir, —  This  picture  was  painted  by  a  Mr.  Field,  at  Washington,  in  the  year  1799,  for  Thomas 
Meredith,  Esq.,  who  wished  to  take  a  likeness  of  the  Father  of  his  Country  with  him  on  his  going 
abroad.  It  was  pronounced  by  all  the  Washington  family  and  his  immediate  friends  at  the  time  it 
was  taken  to  be  an  admirable  likeness  ;  and  Thomas  Meredith  himself  knew  Washington  very  well, 
having  spent  by  special  invitation  four  or  five  weeks  with  Washington  at  Mount  Vernon,  and  also 
knew  him  well  while  Samuel  Meredith  his  father  was  first  treasurer  of  the  United  States ;  and  he 
(Thomas  Meredith)  also  considered  it  the  best  likeness  he  had  ever  seen. 

This  likeness  has  been  through  Europe  and  to  Calcutta  and  Canton,  and  was  in  the  court  of 
St.  James  exceedingly  admired.  This  picture  never  was  out  of  the  possession  of  Thomas  Meredith 
until  it  was  handed  by  him  to  me  in  1853  as  a  present  for  valuable  services  rendered  him. 

Yours  respectfully, 

SAMUEL  R.  MEREDITH. 

Mr.  Rembrandt  Peale  has  a  theory,  which  is  given  in  this  characteristic  letter  to  Mr. 
Moreau,  a  part  of  which  has  been  published  by  Mr.  Lossing ;  and  it  is  appropriate  to 
introduce,  though  Mrs.  Lewis's  certificate  shows  the  venerable  artist  to  be  mistaken  :  — 

Philadelphia,  Oct.  3,  1858. 

Mr.  Moreau. 

Dear  Sir,  —  I  thank  you  for  the  photograph  of  Washington  from  Field's  miniature.  It  revives 
my  recollection  of  the  miniature  which  I  saw  this  last  spring,  which  is  a  copy  from  Stuart's  first 
portrait  (not  the  one  in  the  Athenaeum,  Boston).  Of  course  that  miniature  was  painted  probably  in 
1796.  I  have  an  impression  that  Mr.  Field  showed  it  to  me  in  the  year  1798.  Field  was  an  English- 
man, painted  in  a  beautiful  style,  and  commanded  good  prices.  He  went  to  Canada,  studied  theology 
(a  little),  was  ordained,  and  had  the  grace  to  be  made  a  bishop,  adorning  the  office  with  a  fine 
portly  figure  and  a  pleasant  countenance.  When  at  Centreville,  on  the  eastern  shore  of  Maryland, 
we  took  a  walk  into  the  country  after  a  rain.  A  wide  puddle  of  water  covered  the  road  beyond  the 
fence  on  both  sides.  I  climbed  the  fence,  and  walked  round  ;  but  Mr.  Field  (fat  and  lazy),  in  good 
humor,  paid  an  old  negro  to  carry  him  on  his  shoulders  over  the  water.  In  the  middle  of  it,  Field 
became  so  convulsed  with  laughter,  that  he  nearly  shook  himself  off  the  old  man's  back.  I  never 
heard  any  thing  of  him  after  he  obtained  his  fat  benefice. 

Will  you  do  me  the  favor  to  write  me  how  many  prints  of  Washington  you  have?  I  wish  to 
mention  it  in  my  lecture. 

Respectfully  yours, 

REMBRANDT  PEALE. 

A  fourth  miniature  by  Field  was  owned  by  Judge  Bushrod  Washington,  who  in  1825 
sent  it  —  through  the  mediumship  of  Lafayette,  accompanied  by  a  medal  made  in  Virginia 
as  early  as  1775  —  to  Simon  Bolivar.    This  graceful  recognition  of  the  "  Liberator  "  of  the 


Robert  Field. 


117 


Pacific  coast  is  thus  alluded  to  in  a  letter  from  G.  W.  P.  Custis  to  W.  W.  Seaton,  editor 
of  "  The  National  Intelligencer,"  preserved  in  that  delightful  biographical  sketch  given  to 
the  world  by  his  charming  wife:  "Apropos,  have  you  seen  the  Bolivar  present?  You 
will  find  it  at  Gaither's,  a  most  splendid  specimen  of  miniature-painting  by  Field  ;  a  medal 
well  wrought  for  the  state  of  the  arts  in  Virginia  fifty  years  ago,  and  the  venerated  hair 
of  the  old  chief."  This  miniature  is  preserved  as  a  cherished  relic  in  Bolivia.  A  print  of 
it  was  sent  several  years  since  to  a  gentleman  in  Washington  well  known  as  a  collector 
of  engraved  portraits  of  Washington. 

A  small  miniature  of  Martha  Washington,  marked  with  the  same  initials,  is  owned 
by  her  great-granddaughter,  Mrs.  Beverly  Kennon  of  Georgetown,  D.C.  This  was  painted 
during  her  widowhood ;  and  her  calm,  venerable  face  was  never  more  beautiful  than  in  this, 
the  last  picture  ever  taken  of  her. 

It  is  a  matter  of  surprise  and  regret  that  plates  were  not  made  of  these  miniatures 
by  Field  or  contemporary  engravers. 


REMBRANDT  PEALE. 


PENNSYLVANIA. 
1778-1860. 

EMBRANDT  PEALE  was  born  in  Bucks  County,  Pennsylvania,  on  the  2  2d 
of  February  of  that  rigorous  winter  when  the  colonial  troops  were  suffering' 
at  Valley  Forge.    His  father  was  at  that  time   in   the  camp,   and  taking 
honorable  part  in  the  fortunes  of  his  comrades. 
It  was  justly  said  by  one  considering  his  character,  "  Rembrandt  Peale  was  a  born 
artist."    In  him  was  found  the  orace  to  harmonize  and  blend  with   oreat  art  attributes. 
Beauty   in   all    forms   was  a  passion,  but  most  welcome,  most  charming,   in   heroic  ex- 
pression.   He  was  a  hero-worshipper. 

He  was  the  subject  of  vicious  criticism,  even  amounting  to  an  assault  upon  his 
veracity  as  an  artist,  which  he  knew  how  to  effectually  combat.  He  died,  full  of  years 
and  full  of  honors,  in  Philadelphia,  Nov.  30,  1S60. 

The  "  Evening  Bulletin  "  in  that  city,  of  the  following  Thursday,  says,  — 

"  The  long  life  of  Rembrandt  Peale  has  not  been  marked  by  many  stirring  events.  Art,  letters, 
and  genial  society  occupied  his  time  ;  and  it  passed  on  serenely  and  happily  amid  loving  kindred 
and  friends.  His  early  association  with  Washington  made  him  always  a  devoted  lover  of  his  char- 
acter, and  during  the  latter  part  of  his  life  he  gave  much  attention  to  the  study  of  the  various 
authentic  portraits  of  him  that  exist.  .  .  .  Mr.  Peale,  besides  being  a  good  artist,  was  a  gentleman 
of  elegant  taste  in  other  respects.  He  was  always  a  reader,  an  especial  lover  of  English  poetry, 
and  an  occasional  writer  of  graceful  and  musical  verses.  In  1839  he  published  a  small  volume 
called  the  '  Portfolio  of  an  Artist,'  consisting  of  brief  selections  from  the  writings  of  eminent 
authors,  chiefly  referring  to  aesthetics.  Interspersed  among  these  are  several  poems  from  his  own 
pen,  all  showing  fine  taste  and  delicate  fancy. 

"The  death  of  a  man  like  Rembrandt  Peale,  once  the  companion  of  Washington,  and  the  hon- 
ored associate  of  the  distinguished  men  that  adorned  Philadelphia  society  fifty  or  sixty  years  ago,  is 
an  event  that  will  be  mourned  by  many.     His  venerable  figure,  his  refined  and  gentle  countenance, 

his  courtly  bearing,  his  genial  conversation,  will  long  be  gratefully  and  lovingly  remembered." 
118 


Rembrandt  Peale. 

See  Page  123. 


Rembrandt  Peak.  1 1 9 

When  only  eight  years  of  age,  while  watching  his  father  paint  a  portrait  of  Washing- 
ton from  life,  there  seemed  to  be  aroused  in  him  a  veneration  and  devotion  for  that  great 
man;  and  to  produce  a  worthy  portrait  of  him  became  the  ruling  ambition  of  his  life.  In 
his  popular  lecture  on  "Washington  and  his  Portraits,"  which  was  delivered  in  nearly  all 
the  large  cities  of  the  Union,  having  been  first  given  in  April,  1854,  at  the  solicitation 
of  the  Pennsylvania  Historical  Society,  this  venerable  artist  said, — 

"Washington  gave  me  three  sittings.  At  the  first  and  second,  my  father's  painting  and  mine 
advanced  well  together ;  being  at  my  right  hand,  his  was  a  little  less  full  than  mine.  In  the  third 
sitting,  perceiving  that  he  was  beginning  to  repaint  the  forehead,  and  proceed  downwards,  as  was  his 
custom,  I  feared  he  would  have  too  little  time  to  study  the  mouth  and  lower  part  of  the  face  ;  and 
therefore  I  began  at  the  chin,  and  proceeded  upwards.  The  result  of  this  decision  was,  that  there 
was  something  in  the  upper  part  of  my  father's  study  that  I  preferred,  and  something  in  the 
lower  portion  of  mine  which  better  satisfied  me.  At  subsequent  periods  I  made  several  studies  to 
combine  them.  To  profit  more  fully  by  the  occasion,  my  uncle,  James  Pealc,  during  the  second  and 
third  sittings,  painted  at  my  left  hand  a  miniature  on  ivory;  and  for  a  time  my  elder  brother  stood 
beyond  my  uncle,  to  make  a  profile  sketch.  .  .  .  By  these  early  visits  I  had  the  advantage  of  seeing 
his  hair  in  a  more  natural  manner  than  the  barber  arranged  it,  wig-fashion,  after  ten  o'clock.  In 
this  particular  the  hair  in  Col.  Trumbull's  portrait  is  much  more  easy  and  graceful,  as  he  probably 
saw  it  in  the  negligence  of  a  camp.  He  shaved  himself  before  coming  to  me;  and  the  powder  being 
washed  from  his  whiskers  in  front  of  his  ears,  showed  that  his  hair  was  dark  brown.  What  there 
was  of  gray  on  the  top  of  the  head  was  disguised  with  powder ;  yet  there  his  hair  was  abundant, 
and  the  plaited  hair  behind  was  long  and  clubbed,  to  which  was  attached — on  days  of  state  cere- 
mony, in  dress  of  black  velvet  —  the  customary  appendage  of  a  black  silk  bag. 

"  My  portrait,  wet  from  the  easel,  was  packed  up,  and  in  a  few  days  was  opened  in  Charleston, 
where  I  painted  ten  copies  of  it,  which  were  valued  as  the  most  recent  likeness.  In  executing  these 
I  became  familiar  with  whatever  good  it  possessed,  but  also  became  still  more  sensitive  to  its  defi- 
ciencies. 

"After  the  death  of  Washington,  neither  satisfied  with  my  father's,  nor  Trumbull's,  nor  Pine's, 
nor  Wertmiiller's,  nor  Stuart's,  nor  my  own,  I  made  repeated  attempts  to  fix  on  canvas  the  image 
which  was  so  strong  in  my  mind  by  an  effort  of  combination,  chiefly  of  my  father's  and  my  own 
studies. 

"  I  had  made  during  several  years  sixteen  of  these  attempts ;  and,  though  not  equal  to  my  own 
expectation,  they  all  found  satisfied  possessors.  I  determined  in  1823  to  make  a  last  effort;  and 
under  an  excitement,  even  beyond  the  'poetic  frenzy'  which  controlled  me  during  three  months,  to 
the  exclusion  of  every  other  thought  and  to  the  grief  of  my  father,  who  considered  it  a  hopeless 
effort,  I  succeeded  to  his  conviction." 

Peale,  after  painting  portraits  for  several  years,  went  to  Europe,  and  remained  from 
1 80 1  to  1804,  part  of  which  time  he  studied,,  as  his  father  had  done,  with  Benjamin  West. 


I  20 


Original  Portraits  of  Washington. 


His  art-life  was  noble  and  strong;  and,  if  his  gifts  had  been  in  proportion  to  his  ambition 
and  integrity,  he  would  have  been  a  great  painter.  He  leaves  a  record  worthy  of  study ; 
and  his  three  well-known  compositions  —  "The  Roman  Daughter,"  "The  Ascent  of  Elijah," 
and  "The  Court  of  Death"  —  place  him  beyond  the  pale  of  portrait-painters.  He  was 
the  first  lithographer  in  this  country,  and  made  two  large  engravings,  on  stone,  of  his 
bust  of  Washington,  receiving  for  lithography  the  silver  medal  of  the  Franklin  Institute  of 
Drawing  in  1827.  While  in  Italy  he  made  careful  notes,  and  wrote  a  useful  volume  on 
"  Rome  and  its  Art-Treasures."  He  lectured  on  natural  science,  and  while  abroad  published 
a  "  Memoir  of  the  Mammoth,"  which  attracted  the  attention  of  Cuvier.  A  notice  from  a 
Philadelphia  paper,  of  the  mammoth  which  he  took  to  Europe,  is  worth  inserting :  — 

"American  Miracle.  —  The  skeleton  with  which  it  is  Mr.  Rembrandt  Peale's  intention  shortly 
to  visit  Europe  was  yesterday  so  far  put  together,  that,  previous  to  taking  it  to  pieces  for  the  pur- 
pose of  packing  it  up,  he  and  twelve  other  gentlemen  partook  of  a  collation  within  the  breast 
of  the  animal,  all  comfortably  seated  round  a  small  table  and  one  of  Mr.  Hawkins's  patent  portable 
pianos." 

It  will  be  observed  that  the  gifts  of  the  son  were  almost  equally  as  varied  as  those 
of  his  father.  That  he  was  a  man  of  independence  and  individuality  will  be  seen  by  a 
card  issued  in  1804;  and  it  is  doubtful  if  a  more  curious  advertisement  can  be  found:  — 

"Rembrandt. — The  names  being  merely  to  distinguish  individuals,  and  whereas  few  persons 
discriminate  between  the  peculiar  names  of  my  father,  uncle,  brother,  or  myself,  which  creates  a  con- 
fusion disadvantageous  to  the  distinct  merit  of  each  as  an  artist,  I  am  induced  to  obviate  this  on 
my  part  in  being  known  only  by  my  first  name  Rembrandt,  the  adjunct  Peale  serving  only  to  show 
of  whom  descended.  Therefore  ladies  and  gentlemen  desirous  of  viewing  a  few  specimens  of  my 
style  of  painting  may  find  me  by  the  following  direction  :  Rembrandt,  portrait-painter  in  large 
and  small,  head  of  Mulberry  Court,  leading  from  Sixth,  three  doors  above  Market  Street.    Dec.  4." 

Peale  afterwards  lived  for  nine  years  in  Baltimore,  where  he  did  much  for  the  art- 
interests  of  that  city,  establishing  a  creditable  museum  and  gallery  of  paintings.  In  1829 
he  again  went  abroad,  remaining  sixteen  months  in  Italy.    Of  this  journey  he  writes :  — 

"  I  gratified  my  national  and  professional  pride  by  taking  with  me  my  portrait  of  Washington  ; 
which  in  Rome  brought  to  my  room  some  of  the  most  distinguished  artists,  professors,  and  amateurs. 
At  Florence  it  was  exhibited  with  distinction  in  the  Royal  Academy.  In  London  it  was  visited  by 
artists  and  other  distinguished  persons  ;  and  after  my  return  to  America,  without  my  solicitation,  it 
was  bought  by  a  unanimous  vote  of  the  Senate,  and  placed  in  their  hall  as  the  picture  which  had 
united  the  suffrages  of  most  of  the  intimate  friends  and  relations  of  Washington." 


Rembrandt  Peale. 


12  1 


Dunlap  expressed  much  disgust  that  this  portrait,  of  which  he  disapproved,  should 
have  received  so  many  certificates,  saying,  "  A  certificate  in  my  mind  is  equivalent  to 
something  deficient  or  amiss."1  This  was  scarcely  fair,  when  it  is  remembered  that  those 
who  certified  to  the  correctness  of  the  noble  picture  were  the  intimate  friends  of  the  sub- 
ject, and  that  the  artist,  a  far  better  art-critic  than  Dunlap,  was  not  content  until  he  had 
given  sixteen  years  to  the  work  ;  but,  when  satisfied,  he  was  enthusiastic. 

At  the  age  of  seventeen  he  made  his  first  sketch  of  Washington  from  life,  at  a  sitting 
which  was  accorded  as  a  compliment  to  his  father.  Peale  says,  "Washington  entered  the 
room  precisely  at  seven,  with  his  watch  in  hand,  and  rose  to  leave  promptly  at  ten." 

In  "  Notes "  now  in  possession  of  his  daughter,  Mrs.  Augusta  Peale  Barker,  he  made 
the  following  record  :  — 

"In  1798  my  father,  having  declined  painting  portraits,  recommended  me  to  his  fellow-citizens; 
but  my  youthful  appearance  being  unfavorable  to  my  pretensions  induced  me  to  make  my  debut 
among  strangers.  I  therefore  chose  Charleston,  S.C.,  and,  for  the  purpose  of  making  a  favorable  im- 
pression, collected  all  of  my  pictures,  including  a  number  of  copies  from  my  father's  gallery  of  Revo- 
lutionary characters ;  but  I  dreaded  the  untried  task  of  separate  maintenance,  and  wished  that  I  had 
some  picture  that  would  invite  attention  from  its  novelty  and  interest.  '  If  I  only  had  a  good  por- 
trait of  Washington  was  my  exclamation  ! '  —  'Why,' said  my  father,  'have  you  not  a  good  copy  of  my 
last  painting?'  —  'Yes;  but  it  may  not  be  thought  a  good  likeness,  and  it  is  not  a  recent  one.'  — 
'Would  you  wish  to  paint  an  original  head;  because,  if  you  do,  I  will  immediately  ask  him  to  sit  to 
you,  which  he  certainly  will  do,  as  he  is  one  of  the  kindest  of  men.'  At  teatime  my  father  in- 
formed me  Gen.  Washington  would  be  with  me  at  seven  o'clock  next  morning.  I  was  up  before 
daylight,  getting  every  thing  ready  for  the  sitting  with  which  I  was  to  be  honored.  Before  the  hour 
arrived,  fearing  I  might  not  sufficiently  profit  by  the  short  time  allowed  me  before  the  sailing  of  the 
ship  for  Charleston,  I  induced  my  father  also  to  paint  a  head  alongside  of  me,  close  to  my  right 
hand,  that  I  might  see  his  progress  to  compare  with  my  own.  The  greatest  advantage  of  this  ar- 
rangement was,  that  I  was  relieved  of  the  effort  to  talk  with  my  sitter ;  a  familiar  conversation  being 
maintained  between  him  and  my  father." 

He  kept  one  of  these  first  portraits  for  his  own  use,  and  it  was  destroyed  in  the  war 
of  18 12  ; 2  a  second  he  took  to  France  as  a  gift  to  Madame  Lafayette;  a  third  became  the 

1  "Among  the  treasures  left  by  Mr.  Peale  are  the  original  letters  bearing  testimony  to  the  fidelity  of  this  por- 
trait, from  Judges  Marshall,  Washington,  Peters,  Tilghman,  Cranch,  Charles  Carroll  of  Carrollton,  Bishop  White,  and 
numerous  other  friends  and  associates  of  Washington."  —  Evening  Bulletin,  Oct.  4,  i860. 

Mr.  Peale  resented  Dunlap's  term,  and  says,  "  I  therefore  obtained  from  Judges  Washington,  Tilghman,  Peters, 
Bishop  White,  and  others,  letters  [letters  of  their  own  dictation,  not  a  certificate,  as  erroneously  stated  in  Dunlap's  His- 
tory of  the  Arts],  repeating  such  expressions  of  their  approbation  as  they  had  previously  made  public." 

2  A  pencil  entry  in  his  "Notes"  says,  "My  portrait  of  Washington  is  in  the  Department  of  State,  sold  by  Mr. 
Young  to  William  Brent  for  $250."  This  may  be  the  one  destroyed  by  fire  in  1814,  or  it  may  be  the  work  attributed 
by  Mr.  Stansbury  to  the  father  of  Rembrandt. 


12  2 


Original  Portraits  of  Washington. 


property  of  one  of  Washington's  brothers,  and  is  now  owned  by  a  descendant  living  in 
St.  Louis.    An  account  of  it  recently  appeared  in  a  journal  of  that  city :  — 

"  One  of  the  few  genuine  portraits  of  Gen.  Washington  for  which  he  gave  sittings  is  in  the 
possession  of  Dr.  Nicholas  Custis  Washington  of  North  16th  Street,  in  whose  parlor  it  hangs 
in  its  tarnished  gilt  frame;  while  beneath  it  plays  the  doctor's  children,  in  the  eldest  of  whom  —  a 
boy  —  one  cannot  fail  to  notice  a  striking  resemblance  in  the  portrait.  He  has  the  same  peculiar 
forehead,  the  same  eyes,  the  same  mouth ;  and  it  can  easily  be  imagined  that  he  is  just  such  another 
boy  as  young  George  was  when  he  first  came  into  possession  of  the  hatchet,  for  the  use  of  which, 
no  less  than  the  sword,  he  was  famous. 

"The  picture,  which  is  attributed  to  the  younger  Peale,  is  life-size  and  quarter-length,  showing 
Washington  in  the  stiff  black  dress-coat,  with  its  broad  collar,  which  was  fashionable  in  his  day. 
The  Father  of  his  Country  kept  up  with  the  fashions,  we  are  told  by  one  of  his  contemporaries ; 
and  a  neckcloth  of  white  lace  tied  at  the  throat,  after  the  manner  of  stocks  worn  by  our  grandfathers, 
save  that  one  end  is  left  free,  which,  falling  below  the  middle  of  the  breast,  quite  hides  the  waistcoat 
from  view.  The  face  is  much  the  same,  which  every  one  knows,  differing  from  the  standard  set  up 
by  the  Houdon  statue  in  that  the  forehead  is  not  quite  so  retreating,  thus  giving  an  expression  of 
greater  intelligence  than  is  seen  in  the  standard  portraits.  The  face  is  painted  very  high,  as  they 
say  in  the  studios ;  but  this  strength  of  coloring  is  gradually  giving  way  to  age,  the  colors  having 
the  appearance  of  having  been  laid  on  gypsum.  The  lower  part  of  the  picture  in  any  except  a  very 
strong  light  is  scarcely  to  be  distinguished  from  the  background  against  which  it  is  painted.  It  is 
hard  to  tell  whether  the  hair  is  Gen.  Washington's  own,  or  a  wig.  At  any  rate,  it  is  heavily  pow- 
dered, with  a  single  lock  on  each  side  combed  down  over  the  ear,  extending  about  two  inches  on 
the  cheeks." 

A  picture  painted  by  Peale  directly  from  one  of  his  first  studies  was  given  by  Wash- 
ington to  Henry  William  de  Saussure,  second  director  of  the  United-States  Mint.  The 
President  expressed  his  regret  at  Mr.  de  Saussure's  retirement,  and  as  a  token  of  his 
regard  presented  him  with  this  portrait.  It  was  very  highly  prized  by  the  recipient,  and 
was  inherited  by  his  son,  never  being  removed  from  the  homestead  until  three  years  ago, 
when  it  was  sent  to  Mr.  Earle,  Philadelphia,  for  sale.  The  youthful  artist  so  nearly  followed 
his  father  and  preceptor  in  this  work,  that  it  has  been  attributed  to  the  latter.  A  plate 
engraved  by  Edwin,  of  a  portrait  by  "  R.  Peale,"  corroborates  its  authorship.  By  years  of 
close  study  of  Houdon's  head,  aided  by  his  own  original  and  the  criticisms  of  many  of  the 
nearest  friends  of  Washington,  Peale  produced  two  portraits,  —  one  a  bust,  the  other  an 
equestrian.  Though  these  are  composite  works,  they  have  some  claim  to  rank  as  originals. 
Even  after  he  had  devoted  years  of  labor  to  his  aim  he  was  dissatisfied,  until  his  father, 
entering  his  studio  and  seeing  the  bust,  exclaimed,  "My  son,  you  have  it  now:  this  is 
Washington  ! "    And  from  that  day  he  says  he  was  content.    This  portrait  was  painted  in 


Rembrandt  Peale. 


123 


1824,  and  was  a  great  triumph.  One  of  his  brothers  said,  "Rembrandt  was  crazy  on  the 
subject  of  Washington  :  he  dreamed  and  talked  about  his  picture  in  his  sleep."  The 
artist's  own  description  of  the  painting  of  his  portrait  of  Washington,  now  owned  by  the 
United  States  Government,  places  it  in  the  list  of  passionate  creations.    He  says,  — 

"Whatever  maybe  the  merit  or  demerit  of  this  painting  the  manner  in  which  it  was  produced 
has  something  so  extraordinary  in  it,  that  it  may  be  recorded  as  an  instance  of  artistic  excitement. 
My  only  objection  to  making  it  public  is  that  it  savours  too  much  of  Romance,  yet  being  literally 
true,  it  belongs  to  the  History  of  mind  if  not  of  art.  I  had  formed  a  resolution  of  going  to  reside 
in  Europe,  and  feeling  an  undiminished  desire  of  having  what  I  could  show  as  a  Likeness  of  the 
Father  of  his  Country ;  I  determined  to  make  one  more  attempt.  Preparatory  for  this  I  assembled 
in  my  room  every  document  representing  in  any  degree  the  man  who  still  lived  in  my  memory,  but 
differing  from  them  all.  Whilst  contemplating  these  with  the  deepest  attention  as  they  were  arranged 
around  my  room  my  wife  entered  and  anxiously  asked  my  purpose.  When  I  told  her,  she  burst  into 
a  flood  of  tears  &  exclaimed  with  great  emotion  that  Washington  was  my  evil  genius  and  she 
wished  he  never  had  been  born.  I  promised  her  this  should  be  my  last  attempt.  I  commenced 
&  devoted  all  my  time  to  it  to  the  neglect  of  every  other  business  ;  in  order  literally  to  be  as  good 
as  my  word.  For  three  months  it  was  my  constant  occupation,  working  at  it  all  day  &  absolutely 
dreaming  of  it  every  night.  My  father  who  visited  me  daily  was  much  grieved,  to  see  me  so  ear- 
nestly engaged  in  what  he  considered  a  vain  pursuit.  I  had  worked  my  imagination  up  to  a  sort  of 
frenzy  &  in  extreme  excitement  imagined  I  was  succeeding  in  my  effort.  My  father  came  to  the 
door,  —  I  could  not  speak,  but  gently  touched  him  not  to  enter.  I  locked  the  door  &  continued  to 
paint  as  if  Washington  had  just  left  me.  My  father  with  a  distressed  countenance  came  again,  I 
permitted  him  to  look  at  my  Picture.  When  he  gaily  clapped  me  on  the  shoulder  saying  —  'You 
have  got  it  at  last !  It  is  the  best  of  Likenesses.'  He  immediately  went  out  and  brought  Judge 
Tilghman  and  Judge  Peters  to  corroborate  his  opinion.  Next  day  I  continued  my  task,  to  make  a 
few  touches  but  my  imagination  became  again  excited  &  I  continued  to  paint  all  day,  the  door 
being  locked  against  every  applicant.  I  could  suffer  no  intrusion  in  my  abstract  devotion.  Dinner 
did  not  enter  my  thoughts  and  twilight  came  on.  It  was  too  dark  to  paint  though  I  felt  eager  to 
go  on  the  image  of  Washington  fresh  in  my  brain.  My  temples  throbbed  painfully.  Was  I  mad  ? 
Was  I  the  victim  as  my  wife  predicted  of  an  evil  spirit  ?  But  could  any  one  be  mad  and  know  it  ? 
Have  I  destroyed  what  was  thoughted  to  be  good  ?  I  seized  a  rag  wet  with  Turpentine  to  wash  off 
my  days  work,  but  I  forebore.  The  work  of  yesterday  yet  fresh  would  be  defaced,  therefore,  I  let 
it  stand  &  scraped  the  colors  from  my  Palettes  with  a  feeling  that  I  might  never  paint  more.  I 
went  home,  tea  was  waiting  for  me.  But  what  is  the  matter  with  you '  asked  my  wife.  Your  ears 
are  red  as  blood,  a  cup  of  tea  will  do  you  good.'  —  After  tea  my  daughter  went  to  the  Piano  & 
played  &  sang  some  of  my  favorite  songs.  I  listened,  my  forehead  resting  on  my  hand,  at  the  end 
of  her  singing  I  awakened  as  if  from  a  dream.  My  forehead  felt  cool,  that  had  been  burning  hot 
for  three  months  ;  and  for  the  first  time  the  thought  of  Washington  had  passed  from  my  mind.  That 
night  I  slept  well  and  after  a  hearty  breakfast  hastened  to  my  Painting  room,  some  distance  from 


Original  Portraits  of  Washington. 


my  dwelling  and  to  my  great  satisfaction  found  the  head  I  had  painted  just  as  I  had  thought  it, 
and  although  it  was  not  the  perfect  Washington  to  equal  my  insatiable  desire,  I  felt  I  could  do 
no  more,  &  was  conscious  that  others  who  knew  Washington  would  see  something  of  life  in  it.  I 
touched  the  head  no  more  but  finished  the  ground  &  drapery,  and  for  many  days  my  Painting 
Room  was  crowded  with  uninvited  visitors,  many  of  whom  knew  the  original  well." 

In  1832  a  special  senate  committee,  for  two  thousand  dollars,  purchased  the  bust- 
portrait,  which  hung  many  years  in  the  United  States  senate-chamber.  By  numerous  con- 
temporary art  critics  and  amateurs  this  was  esteemed  one  of  the  most  reliable  portraits  of 
Washington.  It  is  to  be  regretted  that  it  has  been  removed,  from  a  position  where  it 
could  have  been  seen  by  all,  to  the  Vice-President's  room.  It  is  carefully  finished,  with  rich, 
mellowed  tints,  and  most  effectively  incased  in  an  oval  stone-work,  beneath  which  are  the 
words  "  Pater  Patrice ;"  and  they  well  accord  with  the  benign  expression  of  the  noble  face. 
The  harmonious,  grave  tone  of  this  work  gives  it  an  individuality  very  pleasing.  The  brow, 
eyes,  and  mouth  are  distinguished  for  life  and  vigor ;  and  the  mouth  particularly  is  sensi- 
tive and  flexible.  When  finished,  and  on  exhibition,  it  was  received  with  enthusiasm  ;  and 
its  approval  by  those  who  best  knew  Washington  cannot  be  considered  unimportant. 
Major  Jackson,  secretary  of  Constitutional  Convention,  said, — 

"In  striking  similitude-  of  features,  character,  and  expression,  I  consider  it  the  best  and  most 
faithful  portrait  of  the  great  Father  of  his  Country  I  have  ever  seen." 

Major  Lawrence  Lewis  said, — 

"  It  is  the  only  portrait  of  my  uncle  I  ever  wish  to  look  at  a  second  time ;  but  on  this  I  could 

gaze  continually." 

Peale  writes,  — 

"  Whilst  my  portrait  was  on  exhibition  at  the  Academy  of  Fine  Arts,  New  York,  the  Marquess 
De  Lafayette  was  invited  to  see  it  ;  but  instead  of  coming  alone,  being  at  a  meeting  of  the  Cincin- 
nati, he  mentioned  the  invitation,  and  the  whole  body  came  in  procession,  accompanied  by  a  band  of 
musicians  playing  Washington's  March  as  they  entered  the  room.  In  the  crowd  I  could  not  hear 
his  opinion  of  the  portrait,  but  have  been  told  by  Mr.  William  Forest  of  New  York,  who  stood  near 
him,  that,  after  looking  at  it  with  evident  emotion,  he  turned  round  and  said,  'Gentlemen,  this  is 
the  Washington  I  knew.'  " 

Rembrandt  Peale  said  he  could  only  explain  the  unhappy  effect  given  by  Stuart  to 
the  lines  of  the  mouth  in  his  Washington  to  the  fact  that  the  unfortunate  false  teeth  were 
adopted  about  the  time  —  possibly  the  same  day — when  both  artists  were  allowed  sittings, 
but  that  he  (Peale)  had  an  appointment  before  they  were  inserted. 

The  picture  by  this  artist  known  as  the  Equestrian  Portrait  is  entitled  "  Washington 
before  Yorktown."    It  presents  him  in  the  zenith  of  his  glory,  and  at  a  moment  when  all 


Rli.MliKANDT  PhaLE. 
See  Page  134. 


Rembrandt  Peale. 


125 


the  force  of  the  commander  is  called  forth  by  the  act  of  rebuking  a  subordinate  for  perilous 
neglect  of  duty.  He  is  accompanied  by  his  staff  and  general  officers, —  Hamilton,  Lafay- 
ette, Knox,  Lincoln,  and  Rochambeau. 

Col.  Forest  of  German  town,  who  was  on  Washington's  staff,  and  an  eye-witness  of 
the  scene,  thus  describes  it :  — 

"Washington  with  his  generals  having  surveyed  the  ground,  and  decided  on  the  spot,  rode  to 
his  tent,  took  a  hasty  meal,  remounted  with  his  staff,  and  rode  back  to  the  ground,  where  he  found 
nothing  done.  In  a  voice  unusually  loud  he  called  to  Col.  Tiernan,  chief  engineer,  who  rode  up  to 
him,  startled  and  pale.  'Sir,'  said  Washington,  'did  I  not  order  the  intrenchments  to  be  begun 
here  ?  If  they  are  not  begun  in  ten  minutes,  I  shall  know  the  reason  why ! '  In  ten  minutes  there 
were  two  hundred  men  at  work." 

The  intimate  personal  friends  of  Washington  were  enthusiastic  over  this  portrait.  His 
biographer  and  neighbor,  Chief  Justice  Marshall,  said,  — 

"  I  have  never  seen  a  portrait  of  that  great  man  which  exhibited  so  perfect  a  resemblance  of 
him.  The  likeness  in  features  is  striking ;  and  the  character  of  the  whole  face  is  preserved,  and 
exhibited  with  wonderful  accuracy.  It  is  more  Washington  himself  than  any  portrait  of  him  I  have 
ever  seen." 

Judge  Thatcher  wrote  to  Mr.  Peale, — 

"  It  revives  in  my  mind  a  pleasing  recollection  of  that  noble  and  expressive  countenance  and 
dignified  presence,  which  during  the  Revolutionary  War  I  so  often  contemplated  with  veneration 
and  delight.  The  appearance  of  Gen.  Washington  when  mounted  on  his  lofty  steed  was  inimitably 
majestic  and  graceful ;  and  your  Equestrian  Portrait  representing  him  at  Yorktown  is  strikingly  char- 
acteristic, and  forms  a  spectacle  peculiarly  sublime  and  interesting." 

Mr.  Charles  Willson  Peale  also  testified  his  approbation  :  — 

"  Notwithstanding  the  celebrity  of  the  last  portrait  by  Stuart,  and  the  success  of  my  last  original, 
both  of  which  were  painted  in  1795,  I  feel  assured  that  my  son,  after  repeated  attempts  during 
many  years,  has  succeeded  in  producing  a  portrait  of  Washington  that  surpasses  all  others,  particu- 
larly his  Equestrian  Portrait,  which  is  the  most  perfect  likeness  of  him  I  have  ever  seen,  —  true  in 
form,  and  fine  in  the  expression  of  his  countenance." 

The  artist  painted  the  Equestrian  Portrait  for  the  rotunda  of  the  United  States  Capi- 
tol, where  it  would  have  had  sufficient  distance  to  be  seen  to  advantage.  A  resolution 
on  the  last  day  of  a  session,  to  buy  this  painting  for  four  thousand  five  hundred  dollars, 
passed  the  Senate  unanimously,  but  did  not  reach  the  House.  Doubtless  it  would  finally 
have  been  purchased  by  the  Government,  but  for  the  onslaught  of  criticism  with  which  it 
was  met. 


Original  Portraits  of  Washington. 


In  June,  1873,  it  was  presented  to  the  "Ladies'  Mount  Vernon  Association  of  the 
Union,"  by  the  heirs  of  the  distinguished  artist.  This  is  an  appropriate  disposition  of  it,  a 
very  elegant  contribution  to  the  patriotic  women  whose  devotion  has  preserved  to  the 
nation  the  home  of  Washington,  and  could  not  be  placed  amid  more  harmonious  associa- 
tions than  in  the  banquet-hall  at  Mount  Vernon. 

The  massive  frame  that  surrounds  this  painting  was  made  from  a  walnut-tree  grown 
upon  the  farm  of  Robert  Morris,  the  "  financier  of  the  Revolution." 

The  first  study  for  this  painting  remained  in  the  possession  of  the  artist  until  his 
death,  when  it  was  purchased  at  auction  by  James  L.  Claghorn  for  the  city  of  Philadelphia, 
and  it  is  now  in  the  National  Museum,  Independence  Hall. 

For  reproductions  of  his  portrait  purchased  by  Congress,  Peale  received  many  orders, 
—  some  of  which  were  in  miniature,  —  which  he  executed  with  a  touch  of  exquisite  fine- 
ness. He  painted  his  last  bust-portrait  in  1859,  for  the  father  of  John  A.  McAllister  of 
Philadelphia,  its  present  owner.  In  the  panel  of  the  frame  the  artist  inserted  an  interesting 
certificate,  of  which  a  copy  is  here  given  :  — 

"Washington  sat  expressly  to  me  in  September,  1795,  —  my  father,  at  my  request,  making  a 
study  of  him  at  the  same  time.  The  portrait,  from  which  this  picture  was  copied,  I  painted  in  the 
year  1824,  being  the  result  of  a  series  of  efforts  to  combine  the  merits  of  my  own  and  my  father's 
studies,  under  the  influence  of  extraordinary  excitement  and  vivid  recollection.  .  .  .  Though  painted 
solely  for  my  own  gratification,  it  was  spontaneously  approved  by  the  intimate  friends  and  relatives 
of  Washington,  as  the  most  characteristic  likeness  of  him.  ...  I  was  born  the  22nd  of  February, 
1778,  —  consequently,  I  had  entered  the  82nd  year  of  my  age,  when  I  made  this,  my  75th  copy,  for 
John  McAllister,  Jr.  of  Phil3  ,  being  now  the  only  artist  living  to  whom  Washington  ever  sat  for 
his  portrait.  .  .  .  Written  and  signed  by 

REMBRANDT  PEALE. 

Philadelphia,  June,  1S59." 

Referring  to  the  first  sitting  that  he  had  from  Washington,  Mr.  Peale  gives  him  credit 
for  the  witticism  claimed  by  Stuart.  "  Seeing  my  father,  my  uncle  James,  my  brother 
Raphael,  and  myself  at  work,  the  general  exclaimed,  '  Why,  gentlemen,  I  am  being  Pealed 
all  around.'  "  As  the  Father  of  his  Country  did  not  often  indulge  in  a  bon  mot,  it  is  but 
fair  that  he  should  have  due  credit  for  this. 

Mr.  Peale  painted  many  miniatures,  which  were  more  approved  than  his  larger  works. 
He  was  fond  of  copying  Stuart ;  and  perhaps  the  best  copy  he  made  is  in  the  Lenox 
Gallery,  which  has  been  previously  referred  to  as  a  reproduction  of  the  portrait  executed 
in  1795. 

Notwithstanding  the  popularity  of  this  artist's  portraits  of  Washington,  we  find — beside 


Rembrandt  Peak. 


127 


the  Edwin  before  mentioned,  and  Peale's  own  lithographs  —  that  only  three  engravers  have 
reproduced  these  works.  R.  Metzeroth  made  a  small  print  of  the  Equestrian  Portrait,  and 
A.  B.  Walter  a  mezzotinto  royal  folio  of  the  "  Pater  Patrice"  which  is  a  beautiful  print. 
H.  B.  Hall  executed  three  plates  of  the  bust,  —  the  first,  in  1859,  for  Irving's  "Life  of 
Washington;"  the  second,  in  1865,  for  "  Washingtonia,"  by  Franklin  B.  Hough;  and  a 
third,  for  Tuckerman's  "  Character  and  Portraits  of  Washington." 


JAMES  SHARPLESS. 


ENGLAND. 
1751-1811. 

HIS  artist  came  to  the  United  States  in  1796,  and  in  the  same  year  made 
very  meritorious  colored  crayon  cabinet-portraits  of  Gen.  and  Mrs.  Washing- 
ton. Washington  so  highly  approved  of  these  pictures,  that  he  ordered 
from  the  artist  portraits  of  Mrs.  Washington  and  of  the  other' members  of 
his  family,  including  George  Washington  Lafayette,  which  were  hung  in  a  group  in  the 
east  parlor,  or  music-room,  at  Mount  Vernon,  in  small  oval  gilt  frames. 

Sharpless  used  a  pantograph,  and  therefore  the  proportions  of  his  pictures  were 
mathematically  correct ;  and  in  addition  they  had  great  reputation  for  lifelike  expression. 
He  made,  with  but  little  difference  in  pose, — some  in  civil,  others  in  military  dress, — 
many  portraits  of  Washington,  having  secured  several  sittings.  And  although  Washington 
was  called  a  bad  sitter,  and  was  wont  to  declare  that  every  time  should  be  "  the  last," 
he  was  particularly  considerate  and  indulgent  to  Sharpless. 

The  first  profile  of  cabinet-size  was  highly  approved  by  the  family  at  Mount  Vernon. 
It  is  noted  in  the  executor's  inventory  of  the  personal  effects  of  Washington's  estate,  as 
"Small  likeness  of  General  Washington  —  $100."  It  descended  to  G.  W.  P.  Custis,  being 
well  known  to  those  familiar  with  the  Arlington  Collection,  and  is  now  in  the  possession 
of  Gen.  G.  W.  C.  Lee. 

Another-  of  these  portraits  is  retained  in  the  family,  and  owned  by  Mrs.  George 
R.  Goldsborough  of  Maryland,  —  granddaughter  of  Mrs.  Elizabeth  Law,  from  whom  she 
inherited  it.    On  the  back  is  the  following  autographic  indorsement :  — 

"This  is  an  original  Portrait  of  Gen1  Washington  taken  in  1797.  It  was  painted  by  Mr. 
Sharpless  and  is  an  exact  likeness  except  the  complexion.  Gen1  Washington  was  very  fair  with  light 
brown  almost  auburn  hair.  He  had  not  a  black  beard.  He  had  artificial  teeth,  but  so  well  fixed 
that  they  did  not  disfigure  his  mouth.  His  hair  was  thin,  craped  and  dressed  with  powder  and 
pomatum  as  this  profile."  —  Eliza  P.  Custis. 
128 


I  AMES  Sua 


James  Sharpless. 


Another  was  executed  for  Col.  James  Mc Henry  of  Maryland,  who  gave  it  to  the  late 
Peter  Hoffman,  sen.,  from  whom  it  was  inherited  by  his  son  David.  A  profile  by  Sharpless 
was  also  owned  by  Hon.  James  Hillhouse,  New  Haven,  Conn.  A  pastel  full-face,  not  so 
successful  as  the  profile,  was  made  for  Judge  Peters ;  and  another  was  purchased  after 
the  artist's  death  by  a  Mr.  Walker,  then  living  in  London.  A  very  interesting  cabinet- 
profile  is  in  possession  of  Mrs.  Morton  Lewis  of  Bridgewater,  Penn.  It  was  presented  to 
her  grandfather,  —  Miers  Fisher,  —  a  lawyer  of  ability  in  Philadelphia  belonging  to  the 
society  of  Friends.  Mr.  Fisher  was  an  intimate  associate  of  Washington ;  and  one  day 
when  the  President  was  dining  with  him,  just  before  the  expiration  of  his  last  term,  he 
referred  to  a  favor  Mr.  Fisher  had  rendered,  and  said  he  would  be  pleased  to  make  some 
testimonial  of  his  gratitude;  to  which  his  host  replied,  "There  is  nothing  I  should  so 
highly  prize  as  an  original  likeness  of  thyself  taken  for  me,  friend  George."  In  a  short 
time  a  profile  was  executed  by  Sharpless,  and  sent  to  Mr.  Fisher  by  Washington.  This 
very  faithful  portrait  is  in  a  good  state  of  preservation,  and  may  be  considered  one  of 
the  most  trustworthy  examples  of  the  artist's  works. 

After  Sharpless's  death  in  Philadelphia,  where  he  had  located,  his  son  Felix  returned 
to  England  with  the  family,  taking  his  father's  portraits  of  distinguished  Americans, 
which  the  artist  with  jealous  care  had  kept  undivided,  saying,  when  a  purchaser  appeared, 
that  they  were  "not  quite  finished."  The  family  resided  in  Bath,  and  there  catalogued 
and  sold  a  large  number  of  these  heads.  Later  Felix  —  also  a  painter,  but  far  inferior  to 
his  father  —  returned  to  this  country,  bringing  with  him  the  unsold  portraits.  He,  as  the 
elder  had  been,  was  a  travelling  artist.  Finally  he  became  domesticated  at  "  Yeardley," 
the  lordly  estate  of  the  Winders,  in  Southampton  County,  Virginia.  He  painted  many  of 
the  belles  and  beaux  of  the  Old  Dominion,  and  occasionally  sold  a  portrait  of  the  elder 
artist.  One  day  he  disappeared,  and  it  is  supposed  that  he  was  drowned  :  there  was  also 
a  rumor  to  the  effect,  that,  loving  a  fair  maiden  in  vain,  he  committed  suicide.  He  was 
never  heard  of  again.  The  pictures  became  the  property  of  Gen.  Winder  in  payment  of 
borrowed  money,  and  were  for  half  a  century  known  as  the  "  Yeardley  Collection."  Edward 
Everett,  in  1855,  examined  these  portraits,  and  was  anxious  to  buy  them  for  the  city  of 
Boston ;  but  the  owner  had  already  determined  to  donate  the  entire  collection  to  the 
University  of  Virginia. 

A  large  portion  of  these  fine  crayons  were  hurriedly  boxed  and  hidden  in  the  early 
part  of  the  war;  but  in  1861  a  few  which  had  been  left  on  the  walls  were  pierced  with 
bayonets  by  lawless  soldiers.  After  the  establishment  of  peace,  those  remaining  were  sold  at 
a  public  auction  in  Baltimore.  Among  them  were  several  portraits  of  Washington,  one  of 
which,  with  heads  of  other  heroes  of  the  Revolution,  was  purchased  by  Francis  S.  Hoffman 
for  Independence  Hall,  and  are  now  in  the  National  Museum. 


130 


Original  Portraits  of  Washington. 


Cabinet-portraits  of  Gen.  and  Mrs.  Washington  by  Sharpless  were  purchased  in  1865 
by  Mr.  Nathan  Appleton  of  Boston  at  a  bric-a-brac  store  in  New  York.  They  are  in 
good  condition,  and  very  fine  examples  of  the  artist. 

A  beautiful  profile  of  Washington,  cabinet-size,  by  Sharpless,  is  owned  by  Mrs.  William 
Greenleaf  Webster.  Her  husband  received  it  from  his  first  wife,  who  was  Miss  Rosalie 
Eugenie  Stuart.  No  doubt  the  portrait  was  at  one  time  the  property  of  Miss  Stuart's 
mother,  whose  first  husband  was  John  Parke  Custis ;  her  relations  with  the  Washington 
family  having  continued  unbroken  and  intimate  after  her  second  marriage. 

In  the  Wadsworth  Gallery  at  Hartford,  Conn.,  there  are  cabinet-portraits  of  "  General 
and  Lady  Washington,"  which  are  claimed  to  have  been  taken  by  Sharpless  from  life,  to 
the  order  of  Col.  Jeremiah  Wadsworth.  This  officer  was  commissary-general  to  the  French 
troops,  and  a  friend  warmly  esteemed  by  Washington. 

Upon  the  back  of  the  frame  of  a  crayon  by  Sharpless,  belonging  to  John  R.  Smith 
of  Philadelphia,  was  inscribed  the  famous  eulogy  written  by  an  unknown  English  admirer 
of  Washington,  which  was  published  in  18 14  in  Alden's  collection  of  American  epitaphs 
and  inscriptions.  A  printed  copy  of  the  same  eulogy,  as  has  been  stated,  was  upon  the 
back  of  the  "Pitcher  Portrait"  at  Mount  Vernon:  — 

Washington, 
The  defender  of  his  Country, 
The  founder  of  Liberty, 
The  friend  of  Man. 
History  and  Tradition  are  explored  in  vain 
For  a  Parallel  to  his  Character. 
In  the  Annals  of  Modern  Greatness, 

He  stands  alone, 
And  the  noblest  Names  of  Antiquity 
Lose  their  Lustre  in  his  Presence. 

Born  the  Benefactor  of  Mankind, 
He  was  signally  endowed  with  all  the  Qualities 
Appropriate  to  his  Illustrious  Career. 
Nature  made  him  Great, 

And,  Heaven-directed, 
He  made  himself  Virtuous. 

Called  by  his  Country  to  the  Defence  of  her  Soil 
And  the  vindication  of  her  Liberties, 
He  led  to  the  Field 
Her  Patriot  Armies  ; 


jfames  Sharp  less. 


And  displaying  in  rapid  and  brilliant  succession, 
The  united  Powers 
Of  Consummate  Prudence 
And  Heroic  Valour, 
He  triumphed  in  Arms 
Over  the  most  powerful  Nation 
Of  Modern  Europe ; 
His  Sword  giving  Freedom  to  America, 
His  Counsels  breathing  Peace  to  the  World. 

After  a  short  repose 
From  the  tumultuous  Vicissitudes 
Of  a  Sanguinary  War, 
The  astounding  Energies  of 
Washington 
Were  again  destined  to  a  New  Course 
Of  Glory  and  Usefulness. 

The  Civic  Wreath 
Was  spontaneously  placed 
By  the  Gratitude  of  the  Nation 
On  the  Brow  of  the  Deliverer  of  his  Country. 
He  was  twice  solemnly  invested 
With  the  Powers  of  Supreme  Magistracy, 
By  the  Unanimous  Voice  of 
A  Free  People; 
And  in  his  Exalted  and  Arduous  station 
His  Wisdom  in  the  Cabinet 
Transcended  the  Glories  of  the  Field. 

The  Destinies  of  Washington 
Were  now  complete. 
Having  passed  the  Meridian  of  a  Devoted  Life, 
Having  founded  on  the  Pillars 
Of  National  Independence 
The  Splendid  Fabric 
Of  a  Great  Republic, 
And  having  firmly  established 
The  Empire  of  the  West, 
He  solemnly  deposited  on  the  Altar  of  his  Country, 
His  Laurels  and  his  Sword, 
And  retired  to  the  Shades 
Of  Private  Life. 


132 


Original  Portraits  of  Washington. 


A  Spectacle  so  New  and  so  Sublime, 
Was  contemplated  by  Mankind 
With  the  Profoundest  admiration  ; 

And  the  name  of  Washington, 
Adding  new  Lustre  to  Humanity, 
Resounded 
7^        remotest  regions  of  the  Earth. 

Magnanimous  in  Youth, 
Glorious  through  Life, 

Great  in  Death, 
His  highest  Ambition 
The  Happiness  of  Mankind, 
His  noblest  Victory 
The  Conquest  of  Himself. 
Bequeathing  to  America 
The  Inheritance  of  his  Fame, 
And  building  his  Monument 
In  the  Hearts  of  his  Countrymen, 
He  lived, 
The  Ornament  of  the  18th  Century; 
He  died, 
Lamented  by  a  Mourning  World. 

Of  the  portraits  of  Washington  taken  to  England,  one,  said  to  be  an  original,  was 
in  possession  of  the  rector  of  Wymington,  Bedfordshire,  and  another  in  the  National  Por- 
trait Gallery,  Kensington  :  the  latter  is  catalogued  "  E.  Sharpless,"  and  was  doubtless  the 
work  of  his  wife. 

Mrs.  Elizabeth  Sharpless  was  a  successful  miniature-painter  in  water-colors.  One  of 
Washington  executed  by  her  was  owned  by  Gen.  Anthony  Walton  White  of  New  Jersey, 
which  descended  to  his  daughter,  Mrs.  Eliza  M.  Evans.  It  is  a  small  miniature,  and  has 
been  engraved.  On  the  back  is  written  by  the  artist,  "  General  Washington  —  Philadelphia. 
1796.    E.  Sharpless." 

This  ingenious  lady  wrought  a  cabinet-portrait  in  black-and-white  flosses,  shaded  with 
marvellous  skill,  which  is  now  owned  by  Miss  E.  R.  Braxton,  Old  Church,  Hanover  County, 
Virginia. 

The  remarkably  spirited  and  brilliant  portrait  (in  oil)  by  Sharpless  was  purchased  by  Mr. 
Cary,  an  American  merchant  in  London,  from  Mr.  Walker  of  that  city,  for  whom  the  artist 
had  painted  it  while  in  this  country.  This  work  was  often  commented  on  by  the  critics 
of  the  owner's  acquaintance,  and  its  reputation  for  accurate  likeness  was  widespread.  It 


jfames  Sharpless. 


133 


was  brought  to  the  United  States,  and  considerable  enthusiasm  was  manifested  on  the 
occasion  of  its  exhibition  in  the  rooms  of  the  New- York  Historical  Society. 

Sharpless  once,  somewhat  discouraged,  wrote  to  his  wife,  in  reference  to  Washington,  — 

"  It  is  not  in  the  grasp  of  any  painter  to  hold  the  dignity  and  mightiness  of  the  great  subject. 
.  .  .  There  was  a  concealed  though  not  unconquered  passion  working  within  him,  which  rendered 
him  a  somewhat  painful  sitter.  On  this  account  I  felt  the  necessity  of  making  a  dash  at  him  before 
any  ennui  could  be  engendered." 

We  are  undoubtedly  under  great  obligations  to  this  elegant,  refined  foreign  painter, 
not  only  for  a  superior  rendering  of  the  features  of  Washington,  but  for  many  other  highly 
attractive  works.  In  this  connection  nothing  truer  nor  finer  can  be  said  than  that  already 
given  by  the  facile  pen  of  Mr.  Tuckerman :  — 

"The  profile  likeness  of  Washington  by  Sharpless  is  a  valuable  item  of  the  legacy  which  art 
has  bequeathed  of  those  noble  and  benign  features.  He  evidently  bestowed  upon  it  his  highest  skill, 
and  there  is  no  more  correct  facial  outline  of  the  immortal  subject  in  existence.  A  disciple  of  Lavater 
would  probably  find  it  the  most  available  side-view  for  physiognomical  inference :  it  is  remarkably 
adapted  to  the  burin,  and  has  been  once,  at  least,  adequately  engraved." 

Aside  from  the  private  plate  recently  engraved  by  H.  B.  Hall,  there  is  no  rendering 
of  Sharpless  but  that  published  by  Aiken  and  Harrison  in  Philadelphia,  Jan.  20,  1800.  It 
is  now  exceedingly  rare :  it  was  a  memorial  engraving  issued  after  Washington's  death. 
The  head  is  in  an  oval  medallion  on  monumental  column :  under  a  wreath  above  the 
head  is  the  name;  Columbia,  mourning,  stands  beside  the  monument.  On  either  side  are 
cypress  and  willow ;  while  an  eagle  with  bowed  head  cowers  in  the  foreground.  The 
entire  inscription  is  inserted  :  — 

"America  lamenting  her  loss  at  the  tomb  of  Washington.  Intended  as  a  tribute  of  respect 
paid  to  departed  merit  &  virtue  in  the  Remembrance  of  that  illustrious  Hero,  &  most  amiable  man 
who  died  Dec.  14,  1799. 

G.  Washington. 
Born  11th  Feby  O.S.,  1732. 
Com.  Cont.  Army,  1775. 
Pres.  Fed.  Convention,  1787. 
Pres.  United  States,  1789. 
Declined  Election,  1796. 
Com.  Fed.  Army,  1798." 


CHARLES  BALTHAZER  JULIEN  FEVRET  DE  ST.  MEMIN. 


FRANCE. 
1770-1852. 

HIS  artist  was  a  French  refugee,  who  fled  on  account  of  his  sympathy  with 
the  royal  cause,  came  to  the  United  States,  and  remained  from  1794  to  18 14. 
Being  an  accomplished  draughtsman,  he  supported  his  family  in  their  exile 
by  drawing  and  engraving  heads  of  distinguished  men  and  women.  In  1798 
he  drew  a  profile  head  of  Washington,  which  may  be  termed  the  portrait  of  the  "  General 
of  the  Army,"  as  it  was  taken  when  Washington,  under  the  new  title  conferred  on  him 
by  Congress,  was  in  Philadelphia,  making  preparations  to  re-organize  the  army  to  repel 
the  expected  French  invasion. 

It  is  not  known  whether  St.  Memin  had  a  sitting  from  the  general,  or  whether  he 
made  his  own  opportunity  when  Washington  appeared  in  public  ;  but  he  certainly  produced 
a  likeness  full  of  vigor  and  of  strong  individuality.  The  perfect  outline  he  gave  of  Wash- 
ington's head  indicates  that  it  was  taken  by  an  instrument  adopted  by  this  artist,  by  which 
he  secured  the  features  with  mathematical  precision.  The  original  sketch,  half  life-size,  in 
crayon,  is  on  a  reddish-brown  paper.  The  dress  is  military,  and  the  pose  of  the  head 
differs  from  that  given  by  any  other  artist.  This  interesting  souvenir  is  the  property  of 
J.  Carson  Brevoort,  Long  Island,  who  obtained  it  from  Mr.  James  B.  Robertson  ;  and  this 
gentleman  received  the  picture  at  Dijon,  France,  from  the  nephew  and  heir  of  the  artist. 

I  le  told  Mr.  Robertson  that  he  had  often  heard  his  uncle  say  that  Mr.  Jefferson  considered 

» 

it  the  most  accurate  rendering  ever  given  of  the  features  of  Washington  ;  which  is  almost 
assurance  that  it  was  taken  by  the  physionotracy  (a  machine  invented  by  Oueneday,  a 
French  engraver),  and  reduced  by  the  pantograph. 

It  is  a  matter  of  regret  that  St.  Memin  did  not  engrave  this  portrait  full-size  ;  since, 
judging  from  other  engravings  of  his  execution,  there  is  no  doubt  that  entire  confidence 
may  be  placed  in  his  head  of  Washington. 

A  copy  of  the  only  miniature  of  Washington  engraved  by  him  is  in  the  St.  Memin 
Collection  of  eight  hundred  and  eighteen  engravings  of  eminent  Americans  at  the  Corcoran 
Gallery  of  Art,  Washington,  D.C. ;  than  which  there  is  not  a  more  priceless  collection  of 

»J4 


Charles  Balthazer  jfulien  Fevret  de  St  Memin.  135 


heads,  being  in  itself  a  complete  gallery  of  American  celebrities.  One  of  this  series,  a 
small  head  of  Jefferson,  hung  in  the  library  of  Mr.  Garfield.  In  directing  the  author's 
attention  to  it,  he  said,  "I  consider  that  a  gem,  —  the  most  exquisitely  drawn  head  with 
which  I  am  familiar.  I  wish  I  could  find  a  miniature  of  Washington  by  St.  Memin." 
Two  original  works  of  this  artist,  life-size  profiles  of  William  Wirt  and  his  wife,  and 
in  the  same  style,  and  on  the  same  kind  of  paper,  as  the  Washington  owned  by  Mr. 
Brevoort,  are  in  one  of  the  upper  rooms  in  the  Corcoran  Gallery;  and  a  half-dozen  or 
more  are  in  the  New- York  Historical  Society. 

A  beautiful  engraving  of  St.  Memin's  Washington  is  on  the  titlepage  of  a  small 
volume  published  by  the  Washington  Monument  Association  of  Baltimore,  containing 
Washington's  "  Farewell  Address,"  and  a  stockholder's  certificate,  which  was  presented  as  a 
memorial  to  each  subscriber  to  the  fund.  A  ring  belonging  to  Miss  Annie  S.  King  of 
Baltimore  contains  a  very  fine  steel-engraving,  by  St.  Memin,  of  the  head  of  Washing- 
ton, surrounded  by  a  black  enamel  band,  with  the  inscription,  "  14.  Dec.  1799.  ae  68." 
It  is  one  of  six  of  these  engravings  made  by  St.  Memin,  about  the  time  of  Washington's 
death,  for  mourning  rings. 

St.  Memin  became  a  landscape  and  portrait  painter  of  repute,  and  after  his  return  to 
France  was  restored  to  his  military  rank,  dating  from  the  day  of  his  exile.  In  18 17  he 
was  appointed  director  of  the  museum  at  Dijon,  where  he  was  held  in  high  esteem  until 
his  death,  in  1852.  Besides  reproductions  of  Washington  by  himself,  this  artist  has  been 
engraved  only  by  Dudensing,  published  by  Elias  Dexter  in  1866,  and  by  Hall  &  Sons, 
which  appeared  in  the  "Washington  Number"  of  the  "Magazine  of  American  History," 
February,  1880. 


HENRY  B.  LATROBE. 


ENGLAND. 


1767-1820. 


HIS  gifted  and  eminent  architect,  soon  after  his  arrival  in  America  in  1796, 
spent  several  days  at  Mount  Vernon,  a  visit  of  which  he  wrote  an  animated 
and  happy  account  to  his  family,  introducing  some  valuable  pen-portrayals 
of  Washington  and  the  home-circle  of  this  hospitable  mansion.  We  insert 
one  of  these  sketches,  kindly  furnished  from  the  artist's  sketch-book  by  his  son,  Hon. 
John  H.  B.  Latrobe  of  Baltimore. 


-6- 


0L.  o6t4 


'36 


^^^^^ 


Henry  B.  Latrobe. 


137 


A  fuller  explanation  is  given  by  an  extract  from  Mr.  Latrobe's  letter :  — 

"Dinner  was  served  up  about  half-past  three.  It  had  been  postponed  half  an  hour  in  hopes  of 
Mr.  Lear's  arrival  from  Alexandria.  The  President  came  into  the  portico  a  short  time  before  three, 
and  talked  freely  upon  common  topics  with  the  family.  At  dinner  he  placed  me  at  the  left  hand 
of  Mrs.  Washington  :  Miss  Custis  sat  at  her  right,  and  himself  next  to  her.  There  was  very  little 
conversation  at  dinner.  A  few  jokes  passed  between  the  President  and  young  La  Fayette,  whom  he 
treated  more  as  a  child  than  as  a  guest.  I  felt  a  little  embarrassed  at  the  silent,  reserved  air  that 
prevailed.  As  I  drank  no  wine,  and  the  President  drank  but  three  glasses,  the  party  before  long 
returned  to  the  portico.  Mr.  Lear,  Mr.  Dandridge,  and  Mr.  Lear's  three  boys,  soon  after  arrived, 
and  helped  out  the  conversation.    The  President  retired  in  about  three-quarters  of  an  hour." 

At  a  dinner-party,  while  on  this  visit,  Mr.  Latrobe  made  a  study,  afterwards  traced 
with  pen  and  ink,  of  the  head  of  the  first  President.  It  is  a  chaste,  strong,  characteristic 
drawing ;  and,  though  made  on  the  blank  side  of  a  loose  piece  of  paper,  it  commends 
itself  as  a  valuable  life-portrait.  Mr.  Morris,  being  one  of  the  guests,  secured  it  because 
of  its  true  rendering,  and  afterwards  gave  it  to  his  friend,  Francis  Lowndes  of  George- 
town, D.C.,  who  valued  it  as  a  "gem  beyond  price,"  and  was  often  heard  to  pronounce 
it  the  "  very  best  picture  of  Washington."  He  gave  it  to  his  son,  at  whose  death  it  was 
presented  to  a  relative,  Col.  Benjamin  S.  Ewell  of  William  and  Mary  College,  Virginia. 
There  is  no  inscription,  nothing  to  indicate  its  authorship  save  a  few  figures  of  a  cal- 
culation in  the  writing  of  Washington,  and  the  lines  of  the  drawing,  which  the  son  of 
the  artist  identifies  as  peculiar  to  his  father's  pencil. 

It  is  a  very  tantalizing  relic,  causing  regret  that  Mr.  Latrobe  had  not  made  a  serious 
effort,  since  he  succeeded  so  well  in  this  memorial  of  a  convivial  occasion.  Had  he  done 
so,  we  doubt  not  the  artist  who  executed  the  "  American  Column  "  —  that  new  and  beau- 
tiful thought  in  architecture  —  would  have  placed  the  country  of  his  adoption  under  renewed 
obligation.  This  column  is  in  the  United-States  Capitol,  in  the  vestibule  leading  to  the 
law  library.  It  is  formed  of  the  stalks  of  Indian-corn,  the  capital  being  a  circlet  of  the 
full-opened  ears.  Mrs.  Trollope  tersely  said  it  was  the  "  only  original  idea  she  saw  in 
America ; "  and  well  might  she  approve  of  a  thought  in  marble  combining  such  strength 
and  life. 


ELEANOR  PARKE  CUSTIS. 

VIRGINIA. 

1779-1852. 

N  1 78 1,  when  Washington  with  the  French  allies  was  en  route  for  Yorktown, 
he  stopped  for  three  days  at  Mount  Vernon,  the  only  visit  made  to  his 
beloved  home  during  the  seven  years  of  the  war.  On  his  departure  he  took 
with  him,  as  a  member  of  his  staff,  Major  John  Custis,  the  only  son  of  his 
wife.  A  short  time  after  their  arrival  the  young  man  was  taken  ill,  and  died  at  Eltham, 
the  home  of  Col.  Bassett,  a  brother-in-law  of  Mrs.  Washington.  Washington  was  sum- 
moned from  the  camp,  and  only  arrived  "  in  time  to  see  poor  Mr.  Custis  breathe  his  last." 
Turning  to  the  young  widow,  he  said,  "From  this  hour  I  adopt  your  two  younger  children 
as  my  own."  They  were  Eleanor  Parke  Custis,  aged  two  and  a  half  years,  and  George 
Washington  Parke  Custis,  aged  six  months ;  and  these  little  ones,  thanks  to  the  fatherly- 
care  and  unceasing  affection  of  this  good  man,  never  realized  that  they  were  so  early 
deprived  of  their  natural  protector. 

Eleanor  Parke  Custis  was  a  very  accomplished  woman,  —  a  linguist,  a  musician,  and 
possessed  of  rare  taste  in  art.  Latrobe,  the  learned  architect  direct  from  the  most  culti- 
vated circles  of  London  and  Leipsic,  soon  after  his  arrival  in  this  country,  wrote  of  Miss 
Custis :  "  She  has  more  perfection  of  form,  of  expression,  of  color,  of  softness,  and  of 
firmness  of  mind,  than  I  have  ever  seen  before."  Her  young,  gay  life  shed  a  rosy  light 
over  the  declining  years  of  Washington,  who  had  for  her  all  a  father's  tenderness,  and 
who  was  much  gratified  by  her  marriage  with  his  favorite  nephew,  Lawrence  Lewis.  Her 
portrait,  taken  from  life  by  Stuart,  is  one  of  the  most  delicately  beautiful  examples  of  his 
pencil.  It  is  now  at  "  Audley,"  Clark  County,  Virginia,  —  the  home  in  which  her  children 
were  reared,  and  where  her  great-grandchildren  reside.  Another  portrait,  in  her  bridal 
dress  (a  crayon  by  Sharpless),  is  a  "  thing  of  beauty."  So  admirable  is  the  contour  of 
the  profile,  and  so  graceful  are  the  proportions  of  the  throat  and  bust,  that  a  distinguished 
New- York  sculptor  once  visited  Baltimore  for  the  purpose  of  copying  the  face  and  figure. 
It  was  one  of  the  famous  "  Yeardley  Collection,"  and  is  now  owned  by  Dr.  R.  B.  Winder 
of  Baltimore. 

Miss  Custis  drew  the  "Shadow  Portraits"  of  Gen.  and   Mrs.  Washington  at  Mount 

'38 


Eleanor  Parke  Cusns- 

See  Page  138. 


Eleanor  Parke  Custis. 


139 


Vernon  in  1798.  A  shadow,  natural  size,  was  cast  by  a  strong  light  on  the  wall,  and  the 
outline  accurately  drawn  upon  paper ;  then  it  was  filled  in  with  color,  making  in  effect  a 
silhouette.  That  of  the  general  is  not  only  valuable  for  its  association,  but  because  it 
corroborates  the  faithfulness  of  St.  Memin. 

These  portraits  were  probably  the  result  of  a  girlish  freak  in  holiday  times,  during 
a  visit  from  her  intimate  friend,  Miss  Elizabeth  Bordley,  the  gifted  daughter  of  John  Beale 
Bordley  of  Annapolis,  Md.,  a  gentleman  of  culture,  whose  first  tutor  was  Charles  Will- 
son  Peale.  Me  devoted  himself  largely  to  writing  on  the  agricultural  interests  of  the 
country,  upon  which  topics  Washington  and  himself  had  frequent  correspondence.  His 
estate  on  Wye  Island  was  cultivated  to  the  highest  perfection  then  attainable. 

These  quaint  likenesses  were  so  perfect  as  to  receive  favorable  comment.  They  are 
now  in  the  Everett  School,  Boston,  presented  by  Edward  Shippen  of  Philadelphia,  a 
relative  of  Mrs.  Gibson,  'who  purchased  them  at  the  sale  of  her  effects.  He  says,  "  Feel- 
ing somewhat  nettled  that  no  Philadelphian  bid  for  these  souvenirs,  I  took  them  where 
they  would  better  be  appreciated." 

In  the  school  record  of  Nov.  22,  1866,  their  presentation  is  thus  noted:  — 

"The  chairman  (Rev.  Mr.  Waterston)  then  declared  he  could  keep  the  secret  no  longer,  and 
proceeded  to  uncover  two  pictures  which  he  had  been  requested  to  present  to  the  Everett  School 
from  Edward  Shippen,  Esq.,  president  of  the  Board  of  Control  of  the  Schools  of  Philadelphia.  They 
proved  to  be  original  profiles  of  Gen.  and  Mrs.  Washington,  of  life  size,  formerly  the-  property  of 
Mrs.  Elizabeth  Bordley  Gibson,  to  whom  they  were  presented  by  the  granddaughter  of  Mrs.  Wash- 
ington. Having  come  into  the  possession  of  Mr.  Shippen,  he  had  generously  sent  them  as  a  gift 
to  the  Everett  School. 

"  These  most  valuable  works  were  then  critically  examined  by  scholars,  teachers,  and  visitors  ; 
while  expressions  of  gratitude  were  tendered  Mr.  Shippen  for  his  generosity." 

The  meeting  was  addressed  by  the  venerable  Josiah  Ouincy  and  other  distinguished 
gentlemen. 

Each  picture  bears  this  certificate  :  — 

The  within  are  profiles  of  General  and  Mrs.  Washington,  taken  from  their  shadows  on  a  wall. 
They  are  as  perfect  likenesses  as  profiles  can  give.  Presented  to  me  by  my  friend,  Mrs.  Eleanor 
Parke  Lewis. 

ELIZABETH   BORDLEY  GIBSON. 

Woodland,  July,  1832. 

Woodcuts  of  the  "Shadow  Portraits"  appeared  in  "The  Home  of  Washington,"  by 
Benson  J.  Lossing.  Nelly  Custis  (Mrs.  Lewis),  Elizabeth  Bordley  (Mrs.  Gibson),  and  Miss 
Summers  (Mrs.  Derby)  were  devoted  friends  and  classmates  in  Philadelphia,  and  were  des- 
ignated as  "The  Three  Graces." 


SAMUEL  POWEL. 


AMUEL  POWEL,  mayor  of  Philadelphia,  cut  a  silhouette  of  the  head  of 
Gen.  Washington,  which  is  claimed  by  measurement  to  corroborate  Stuart. 
It  was  at  one  time  deposited  with  the  Historical  Society,  Philadelphia;  and 
a  cut  of  it  on  stone  is  found  in  a  publication  by  the  society  entitled  "  Ameri- 
can Historical  and  Literary  Curiosities."  The  plate  (XIV.)  is  described  as  a  "  Profile  of 
Genl.  Washington,  taken  by  lamplight,  by  his  friend  Samuel  Powel,  Mayor  of  Phila.,  and 
confirming  Stuart's  portrait,  —  slightly  reduced  in  size.  Deposited  in  the  rooms  of  the 
Historical  Society  of  Phila.,  by  Joshua  Francis  Fisher." 

In  the  Proceedings  of  the  Massachusetts  Historical  Society,  Nov.  19,  1873,  an  account 
is  given  of  this  memorial.  Mr.  George  Harrison  Fisher  of  Philadelphia  sent  to  the  society 
a  silhouette  of  Washington,  taken  by  a  gentleman  in  a  drawing-room  in  Philadelphia  previous 
to  the  time  of  Stuart's  portrait.  This  silhouette,  with  one  of  Col.  John  Washington,  was 
bequeathed  by  Mr.  Fisher's  father  to  the  Massachusetts  Historical  Society.  A  small  helio- 
type  print  of  it  appeared  in  the  Proceedings  of  the  Society,  1873-75. 

SAMUEL  FOLWEL. 

HIS  miniature-painter  lived  in  Philadelphia,  and  made  a  small  profile-likeness 
of  the  President,  taking  advantage  of  some  public  occasion  to  secure  a  life- 
sitting.  It  is  on  paper,  colored  in  India-ink,  and  is  strong  and  correct  in 
drawing. 

It  is  now  owned  by  the  Historical  Society  of  Pennsylvania,  and  its  history  is  plainly 
told  by  the  writing  found  upon  it :  "  Presented  to  James  Henry  Stevens,  Esq.  by  his 
friend  Col.  William  Washington,  Sept.  9th  1800.  Said  to  be  a  correct  likeness  taken  from 
life  of  his  Excellence  Genl.  Geo.  Washington,  first  President,  United  States  of  America." 
Below  the  picture  is  "  S.  Folwel  —  Pixet.  1795.  Done  1795. 

An  engraving  on  wood  of  this  profile  may  be  found  in  "  Watson's  Annals."  Col.. 
William  Washington,  a  cousin  of  the  general,  was  the  brilliant  cavalry  officer  for  whom 

Congress  ordered  a  medal  struck,  commemorative  of  his  bravery  at  the  battle  of  Cowpens. 

140 


WILLIAMS. 


HE  Masonic  Lodge  No.  22,  Alexandria,  Va.,  possesses  a  portrait  of  Washing- 
ton in  full  regalia,  painted  by    Williams,  one  of  its  members.    It  is  a 

poor  likeness  ;  and  its  chief  merit  seems  to  consist  in  representing  faithfully 
the  sash  and  apron  (presented  by  Elkanah  Watson  and  M.  Cassoul),  which 
are  now  preserved  in  Masonic  Temple,  Philadelphia.  The  collar  and  ornaments  are  those 
of  a  past  Mason,  and  it  is  known  as  the  "  Masonic  Portrait."  The  history  of  the  painting 
is  in  the  annals  of  Lodge  No.  22,  Dec.  10,  1794.    On  the  back  of  the  canvas  is  inscribed:  — 

"  His  Excellency,  George  Washington,  Esq. 
President  of  the  United  States,  aged  64. 
Williams  Pinxit,  ad  virum  in  Philadelphia. 
Sept.  i8,h  1794." 

Notwithstanding  this  succinct  description,  there  is  serious  doubt  in  regard  to  the 
genuineness  of  the  work ;  though  money  was  voted  by  the  lodge,  with  a  resolution  of 
thanks,  as  a  compensation  to  Mr.  Williams  for  his  trouble  in  going  to  Philadelphia,  and 
securing  the  portrait. 

When  Williams  first  made  application  to  the  President  for  permission  to  paint  his 
portrait,  he  was  armed  with  a  letter  from  Gov.  Lee  of  Virginia,  but  was  firmly  refused, 
as  seen  in  a  letter  from  Washington  to  Lee.  It  appears  that  Washington  granted  a 
sitting  when  requested  by  his  lodge. 

O'Neill  made  an  engraving  of  this  painting  in  1866,  which  was  published  in  "Wash- 
ington and  his  Masonic  Compeers,"  by  Sydney  Hayden. 


KEMMELMYRE. 


N  itinerant  artist  named  Kemmelmyre  sketched  Washington  from  life  while 
"Reviewing  the  Western  Troops,  Cumberland,  Md.,  Oct.  2,  1794."  It  is 
a  cabinet-portrait  in  oil,  and  of  little  value  save  as  a  memorial  of  Washing- 
ton's visit  to  that  town,  and  in  the  carefully  finished  details  of  costume. 
The  general  is  dressed  in  the  Continental  uniform,  and  mounted  on  a  white  bobtailed  horse. 
In  his  right  hand  he  holds  a  gold-headed  cane,  which  rests  upon  the  toe  of  his  high-top 
boot. 

This  picture  was  recently  presented  by  Hon  A.  S.  Boteler  of  Virginia  (grandson  of 
Charles  Willson  Peale)  to  Hon.  Thomas  Donaldson  of  Idaho. 
It  has  never  been  engraved. 


P.  A.  PETICOLAS. 

HE  artist  P.  A.  Peticolas,  father  of  the  better-known  artist  Edward  F.  Peti- 
colas  of  Richmond,  painted  on  ivory  a  miniature  of  Washington  in  1796. 
It  is  a  three-quarters  head  ;  the  dress,  of  black  velvet,  with  ruffled  shirt-front, 
and  high  white  neckerchief.    The  inscription  on  the  glass  in  which  the  gilt 
frame  is  enclosed  is,  — 

"  Washington. 
Painted  from  life  at  Philadelphia, 
1796. 
P.  A.  Peticolas." 

This  likeness  was  purchased  from  the  grandson  of  the  artist  by  John  Taylor  Johnston 
of  New  York.    At  the  sale  of  his  collection,  in  1876,  it  was  bought  by  F.  C.  Sayles  of 
Pawtucket,  R.I.    It  has  not  been  engraved. 
142 


Plate  XXII. 


Gilbert  Stuart. 

See  Page  to6. 


W.  LOUTERBURG. 


MONG  the  novel  pictures  of  Washington  may  be  ranked  one  now  in  George- 
town, D.C.,  in  possession  of  the  grandchildren  of  the  original  owner.  It  is  a 
profile  in  India-ink,  and  has  this  inscription  :  "  Taken  by  W.  Louterbourg,  as 
a  sketch  at  Christ  Church,  Philadelphia,  when  Washington  took  his  last  leave 
of  Congress,  June,  1798."  It  was  presented  by  Washington  to  the  wife  of  Major  De  la 
Roche,  aide-de-camp  to  Lafayette. 

This  little  portrait,  showing  a  velvet  coat  trimmed  with  large  concave  shell  buttons, 
recalls  an  anecdote  told  of  the  President.  It  is  said  that  one  day,  when  he  was  walk- 
ing down  Chestnut  Street,  a  poor  foreigner  with  a  wheelbarrow  full  of  conch-shells, 
accosted  him  with  a  request  to  buy.  "Why,  my  good  man,  what  can  I  do  with  them?" 
—  "Make  buttons,  your  Honor."  Washington  purchased  a  number,  and  sent  them  to  his 
tailor,  with  the  order  that  a  set  of  buttons  should  be  manufactured  for  a  brown-velvet 
coat.  Soon  there  was  a  dearth  of  shells  in  the  market ;  for  the  pretty  rose-tinted  buttons 
with  a  silver  centre  became  the  rage ;  and  it  is  probably  the  only  time  the  great  soldier 
ever  "  set  a  fashion." 


F.  KISSELMAN. 


CABINET  bust-portrait  in  oil  belongs  to  Benjamin  G.  Smith  of  Germantown, 
Penn.  It  is  in  the  style  of  Stuart,  —  very  florid,  though  well  drawn.  The 
frame,  of  narrow  gilded  fluting,  is  of  old  style,  and  is  doubtless  the  original 
setting.  On  the  back  is  written,  "  F.  Kisselman,  Pinxt.  1798."  This  artist 
had  a  studio  in  Philadelphia  at  that  time,  and  probably  made  the  drawing  with  the  consent 
of  Washington,  as  the  present  owner  received  with  it  the  family  tradition  that  the  picture 
belonged  to  Robert  Morris,  painted  for  him,  and  that  it  was  either  bought  at  the  sale  of 
his  effects,  or  presented  to  Mr.  Smith's  grandfather ;  probably  the  latter,  as  they  were 
intimate  friends.    No  plate  has  been  made  of  this  portrait. 

'43 


CHARLES  FRASER. 


SOUTH  CAROLINA. 
1782-1860. 

iHIS  favorite  portrait  and  landscape  painter  of  the  Palmetto  State  was  in  his 
eighteenth  year  when  Washington  died ;  and  his  portraits  of  him,  save  one, 
are  copies  of  Stuart. 

In  1857  there  was  an  exhibition  of  the  venerable  artist's  works  in  the 
city  of  Charleston  ;  and  in  a  catalogue  issued  at  the  time  (containing  a  biographical  sketch 
written  by  the  Hon.  G.  S.  Bryan)  we  find  the  following  entries :  — 

"1.  General  Washington,  in  India-ink,  1799.  —  Owner  Miss  Fraser. 

"2.  Washington  —  portrait  from  Stuart.  This  is  Mr.  Fraser's  first  portrait  in  oil,  —  done  1801. 
Dr.  Winthrop. 

"  3.  General  Washington,  in  pen  and  ink,  chiefly  from  recollection.  —  Mrs.  Stock. 
"4.  Gen.  Washington;  property  of  Charles  Manigault." 

The  last  two  are  miniatures. 

Mr.  Fraser  was  not  only  beloved  as  a  man,  and  admired  as  an  artist,  but  he  was  one 
of  the  most  chaste  and  able  writers  of  his  day.  His  epitaph  on  Charles  Cotesworth 
Pinckney,  whose  portrait  he  had  painted,  links  his  name  with  that  of  one  of  South  Caro- 
lina's noblest  sons :  — 

"To  the  Memory  of 
General  Charles  Cotesworth  Pinckney, 
One  of  the  founders  of 
The  American  Republic. 
In  war 

He  was  the  companion  in  arms 
And  the  friend  of  Washington. 
In  peace 

He  enjoyed  his  unchanging  confidence, 
And  maintained  with  enlightened  zeal 


Charles  Fraser. 


H5 


The  principles  of  his  Administration, 
And  of  the  Constitution. 
As  a  Statesman, 
He  bequeathed  to  his  Country  the  Sentiment, 

1  Millions  for  Defense 
Not  a  cent  for  Tribute.1 
As  a  Lawyer, 
His  learning  was  various  and  profound, 
His  principles  pure,  his  practice  liberal. 
With  all  the  accomplishments 
Of  the  Gentleman 
He  combined  the  virtues  of  the  Patriot 
And  the  piety  of  the  Christian. 
His  Name 

Is  recorded  in  the  History  of  his  Country, 
Inscribed  on  the  Charter  of  her  Liberties, 
And  cherished  in  the  Affections  of  her  Citizens. 
Obit  XVI  August  MDCCCXXV. 
Gratis,  LXXXIX." 

Mr.  A.  H.  Safford  recently  presented  to  the  Massachusetts  Historical  Society  a  pen- 
and-ink  sketch,  —  a  close  following,  if  not  a  copy,  of  the  Fullerton  portrait.  No  certified 
statement  accompanied  the  drawing ;  but  Mr.  Safford  believed  that  the  miniature  was 
presented  to  Capt.  Hartshorn  of  Reading,  Mass.,  who  died  in  18 19.  It  had  been  in  Mr. 
Safford's  possession  over  fifty  years,  he  being  a  foster-son  of  Capt.  Hartshorn.  This  head 
is  drawn  on  the  back  of  a  playing-card  (the  ten  of  diamonds),  with  the  name  "  George 
Washington "  inscribed  on  a  scroll  beneath  the  picture,  where  the  artist's  signature  and 
the  date  also  appears;  thus,  "J.  Hiller,  Jr.  sculpt.  1794." 

There  is  in  Richmond,  Va.,  a  small  profile  pen-and-ink  portrait  of  Washington  in 
possession  of  Capt.  Michel  Benvenit  Poitiaux.  This  likeness  was  drawn  from  life,  in 
1792,  by  an  artist-friend  of  the  father  of  the  present  owner.  Mr.  Poitiaux  was  at  that 
time  an  accomplished  young  gentleman  from  Brussels,  —  an  amateur  in  art  of  conceded 
ability.  He  was  infused  with  all  that  enthusiasm  for  the  character  of  the  great  American 
leader  peculiar  to  the  youth  of  Continental  Europe,  and  prized  this  original  sketch  to  the 
day  of  his  death,  which  occurred  in  1854.  By  his  hand  the  drawing  was  touched  and 
colored  with  taste  and  delicacy.  The  costume  is  in  the  most  fashionable  mode  of  the  times, 
even  then  in  the  new  republic  known  as  the  "  court-dress."  There  is  a  mistake  in  regard 
to  Washington  affecting  a  severely  plain  garb :  this  mistake  is  attributable  to  a  misguided 
desire,  on  the  part  of  a  few  narrow-visioned  admirers,  to  hew  down  his  broad  views  of  life 
to  their  small  standard ;  for  the  testimony  is  abundant,  that,  neither  in  dress  nor  ceremony, 
did  he  despise  or  neglect  the  requirements  of  his  exalted  position. 


BUSTS,  STATUES,  MONUMENTS,  AND  MEDALS. 


BUSTS. 

HRIST'S  CHURCH,  Salem  Street,  Boston,  is  intimately  associated  with  the 
early  events  of  the  struggle  for  liberty.  Why  it  is  sometimes  called  "  Paul 
Revere's  Church"  is  explained  by  this  tablet1  placed  on  the  tower  Oct.  17, 
1878. 

THE  SIGNAL  LANTERNS  OF 
PAUL  REVERE 

DISPLAYED   IN   THE   STEEPLE  OF  THIS  CHURCH 

APRIL  18  1775 

WARNED   THE   COUNTRY   OF  THE  MARCH 
OF  THE   BRITISH   TROOPS  TO 

LEXINGTON    AND  CONCORD 


In  this  old  church  is  preserved  a  bust  of  Washington  of  much  interest ;  and  it  is 
first  cited,  as  by  legend  it  is  claimed  to  have  "  been  the  first  monument  erected  to  his 
memory." 

The  sculptor  of  the  bust  is  unknown  ;  and  as  to  its  history  nothing  has  been  found 
in  the  chronicles  of  the  church  or  city,  save  that  it  was  presented  by  one  Shubael  Bell, 
who,  it  appears,  was  vestryman,  and  chief  assistant  of  Rev.  Asa  Eaton,  the  first  organizer 
of  Sunday  schools  in  the  country. 

Griswold,  in  his  "  Republican  Court,"  is  responsible  for  the  assertion  that  "  Gullagher 
modelled  a  bust  of  Washington  in   1789."    Gullager's  grandsons  say  that  busts  were  in 

'  Granite,  5  feet       inches  by  6  feet  7  inches  ;  weight  5  tons. 

146 


Plate  XXIII. 


John  Eckstein. 

Strt-  Page  150. 


Joseph  Wright.  (  ?) 

See  Page  146. 


Busts,  Statues i  Monuments,  and  Medals, 


147 


this  artist's  rooms,  made  by  himself.  One  or  two  old  casts  in  the  collection  of  the  Boston 
Museum  may  have  been  his  work,  as  in  age  and  crudeness  they  correspond  with  what 
he  might  have  produced,  and  differ  essentially  from  all  other  busts  of  Washington  seen 
by  the  author.  Drake,  speaking  of  Christ  Church,  in  his  "  History  of  Boston,"  says, 
"There  is  in  this  church  a  bust  to  the  memory  of  Washington, — the  first  monument 
erected  to  his  memory  in  the  country."  Other  authors  quote  him,  and  add,  "  It  is  said  to 
have  been  the  work  of  an  Italian  sculptor."  But  there  was  none  of  repute  in  the  United 
States  before  Ceracchi,  who  arrived  after  this  bust  was  made. 

It  can  more  probably  be  thought  the  work  of  Joseph  Wright,  who  was  a  very  faithful 
and  realistic  artist.  The  lines  on  the  face,  corresponding  with  Wright's  portrait,  are  full 
of  care,  and  indicate  the  responsibilities  under  which  Washington  labored.  It  is  said 
that  this  bust  was  paraded  in  procession  on  civic  festive  occasions;  and  on  the  2 2d  of 
February,  1800,  when  Washington's  obsequies  were  celebrated  in  Boston,  it  was  con- 
spicuous in  the  mournful  cortege,  though  no  official  record  has  been  found  of  the  incident ; 
on  which  occasion  it  will  be  recalled,  Dr.  Eaton,  pastor  of  Christ  Church,  delivered  a 
well  adapted  oration  in  commemoration  "  of  the  sublime  virtues  of  Gen.  George  Washing- 
ton." The  bust  is  life-size ;  the  head  well  posed  and  skilfully  modelled  ;  the  hair  is  in 
the  style  of  the  day ;  and  the  dress,  a  close-fitting  military  costume,  shows  a  ruffled  shirt. 
The  story  is  also  told  of  this  work,  that  Lafayette  exclaimed,  upon  seeing  it,  "  Ah !  that 
is  my  old  friend." 

Joseph  Wright  is  not  well  identified  as  a  sculptor,  though  it  is  evident  he  had  ob- 
tained some  recognition.    The  small  number,  either  of  his  plastic  works,  or  the  engravings 
of  them,  that  we  have  remaining,  do  not  evince  great  ability  or  aesthetic  taste,  yet  impress 
the  beholder  with  the  truth  of  his  'rendering.    On  the  7th  of  August,  1783,  on  motion  of 
Mr.  A.  Lee  of  Virginia,  seconded  by  Mr.  Bland  of  the  same  State,  it  was  — 

"Resolved  (unanimously,  ten  States  being  present),  That  an  equestrian  statue  of  Gen.  Washing- 
ton be  erected  at  the  place  where  the  residence  of  Congress  shall  be  established." 

On  the  report  of  a  committee,  consisting  of  Mr.  A.  Lee,  Mr.  Ellsworth,  and  Mr. 
Mifflin,  appointed  to  prepare  a  plan  of  an  equestrian  statue  of  the  commander-in-chief :  — 

"Resolved,  That  the  statue  be  of  bronze.  The  general  to  be  represented  in  a  Roman  dress, 
holding  a  truncheon  in  his  right  hand,  and  his  head,  encircled  with  a  laurel-wreath.  The  statue  to 
be  supported  by  a  marble  pedestal,  on  which  are  to  be  represented  in  basso-relievo  the  following 
principal  events  of  the  war,  in  which  Gen.  Washington  commanded  in  person  ;  viz.,  the  evacuation 
of  Boston,  the  capture  of  the  Hessians  at  Trent.on,  the  battle  of  Princeton,  the  action  of  Monmouth, 
and  the  surrender  of  York.  On  the  upper  part  of  the  front  of  the  pedestal  to  be  engraved  as  follows  : 
'The  United  States  in  Congress  assembled,  ordered  this  statue  to  be  erected,  in  the  year  of  our 
Lord  1783,  in  honor  of  George  Washington,  the  illustrious  commander-in-chief  of  the  armies  of  the 


148 


Original  Portraits  of  Washington. 


United  States  of  America  during  the  war  which  vindicated  and  secured  their  liberty,  sovereignty  and 

independence.' 

"Resolved,  That  a  statue  conformable  to  the  above  plan  be  executed  by  the  best  artist  in 
Europe,  under  the  superintendence  of  the  minister  of  the  United  States  at  the  court  of  Versailles, 
and  that  money  to  defray  the  expense  of  the  same  be  furnished  from  the  treasury  of  the  United 

States. 

"  Resolved,  That  the  secretary  of  Congress  transmit  to  the  minister  of  the  United  States  at 
the  court  of  Versailles  the  best  resemblance  of  Gen.  Washington  that  can  be  procured,  for  the  pur- 
pose of  having  the  above  statue  erected,  together  with  the  fittest  description  of  the  eve.nts  which  are 
to  be  the  subject  of  the  basso-relievo." 

Congress  directed  Mr.  Wright  to  make  a  cast  of  Washington's  face,  for  the  purpose  of 
securing  this  statue.  To  this  ordeal,  a  writer  of  that  date  says,  Washington  consented ; 
but,  in  removing  the  mould,  the  artist  in  his  trepidation  let  it  fall,  and  a  second  trial  was 
not  permitted.  Wright  was  a  shy  and  nervous  man,  much  awed  by  the  presence  of  the 
great  general ;  and  his  misfortune  in  breaking  the  cast  occasioned  him  keen  mortification. 

It  would  appear  from  the  journal  of  Congress,  wherein  the  following  statement  is 
found,  that  Mr.  Wright  either  gathered  up  the  fragments,  and  produced  a  bust  of  the 
general  that  met  the  demands  of  the  committee,  or  that  Washington  did  allow  a  second 
trial,  which  is  altogether  probable.  Congress  resolved,  April  6,  1785,  on  recommendation 
of  "  committee  consisting  of  Mr.  Johnson,  Mr.  Bedford,  and  Mr.  Howell,  to  whom  was  referred 
a  report  of  the  secretary  of  Congress  respecting  a  bust  of  Gen.  Washington,  in  pursuance 
of  the  act  of  7th  August,  1783:"  "That  his  excellency,  the  president,  draw  an  order  on 
the  treasury  of  the  United  States  in  favour  of  Joseph  Wright  for  233J  dollars,  it  being 
the  sum  charged  by  him  for  modelling  and  compleating  the  said  bust."  It  was  not  used 
for  its  intended  purpose,  and  no  trace  has  been  discovered  of  this  bust,  notwithstanding 
diligent  search ;  the  most  reasonable  explanation  of  its  disappearance  is,  as  has  been  said, 
that,  in  the  burning  of  the  Capitol  in  18 14,  it  was  destroyed. 

Rembrandt  Peale  in  his  "  Notes  "  says,  — 

"About  the  year  1790  Mr.  Wright  an  'indifferent  artist  of  Philadelphia,'  having  made  a 
model  from  Houdon's  Bust,  in  order  to  take  it  off,  as  usual,  divided  it  in  two  parts.  When  those 
parts  were  put  together,  they  were  not  correctly  united,  and  the  impression  made  from  the  mould 
gave  a  false  breadth  and  a  greater  flatness  to  the  face.  After  the  death  of  Mr.  Wright,  his  family 
preserved  this  cast  with  great  devotion,  under  the  erroneous  idea  that  it  was  made  from  a  mould 
made  on  the  living  face,  which  was  never  done  but  once,  and  that  by  Houdon.  A  great  many  im- 
pressions from  this  false  mask  of  Wright  have  been  made,  and  circulated  throughout  the  country." 


That  Mr.  Peale  was  mistaken  is  proven  by  Elkanah  Watson,  who  relates  that  the 


Busts,  Statues,  Monuments,  and  Medals. 


149 


general,  in  speaking  of  his  bust  by  Wright,  thus  explained  a  peculiar  expression  given 
to  the  mouth  :  — 

"The  artist  oiled  his  features  over,  and,  after  causing  him  to  lie  on  his  back  on  a  cot,  proceeded 
to  daub  his  face  with  the  plaster.  Whilst  in  this  ludicrous  attitude,  Mrs.-  Washington  entered  the 
room,  and  involuntarily  exclaimed.  Her  cry  excited  in  him  a  disposition  to  smile,  which  gave  his 
mouth  a  slight  twist  or  compression  of  the  lips  that  is  now  observable  in  the  bust  which  Wright 
afterwards  made." 

A  miniature  bust  in  marble  was  purchased  by  the  late  Dr.  William  K.  Gilbert  of 
Philadelphia  at  the  sale  of  the  effects  of  Mrs.  Elizabeth  Bordley  Gibson.  It  claims  no 
certified  authorship,  but  has  all  the  peculiarities  of  Wright's  realistic  lines. 

The  miniature  of  Washington  in  plaster  that  was  exhibited  to  the  Massachusetts  His- 
torical Society  in  1874,  and  which  had  been  in  the  family  of  George  Homer,  Esq.,  over 
sixty  years,  was  probably  the  work  of  Joseph  Wright. 

A  quaint  example  of  work  in  wax  by  Wright  is  owned  by  Benjamin  G.  Smith  of 
Germantown,  Penn.  It  is  a  head  in  profile  of  Washington,  the  features  rendered  in  severe 
simplicity,  and  on  the  brow  a  chaplet  of  laurel.  "J.  Wright,  fecit,"  is  inscribed  on  this 
work;  and  the  following  is  also  found:  "General  Washington,  by  Mr.  Wright  of  Philadel- 
phia, for  T.  R."  These  initials  stand  for  Thomas  Richardson,  grandfather  of  the  present 
owner.  Mr.  Smith  thinks  it  was  made  for  a  die  intended  for  a  coin  or  medal,  and  that 
it  was  cast  in  a  mould ;  but  the  modelling  is  too  delicate  to  admit  of  the  latter  supposition, 
and  the  size  contradicts  the  former.1  Of  this  relic  Mr.  Lossing  says,  "It  is  not  an  im- 
pression from  Wright's  die  of  the  profile  of  Washington,  but  a  far  more  precious  and 
valuable  work  of  art :  this  is  a  model  done  by  the  hand  of  the  artist  directly,  and  con- 
trolled by  his  brain."  For  a  time  this  memorial  was  in  the  rooms  of  the  Pennsylvania 
Historical  Society. 

After  a  close  study  and  careful  comparison  of  the  plastic  portraits  of  Washington,  the 
author  concludes  that  the  bust  at  Christ  Church  must  be  the  work  of  Wright.  It  possesses 
his  Quakerish  severity,  and  could  have  been  the  work  of  neither  Houdon  nor  Ceracchi. 
If  Gulager  had  executed  it,  his  works  as  a  sculptor  would  have  been  better  known.  A 
bust  of  Samuel  Adams,  "  the  man  of  the  Revolution,"  by  the  same  chisel,  is  in  the  State 
House  at  Boston  ;  but  unfortunately  the  history  of  that  work  is  as  obscure  as  that  of  the 
Washington.  It  can  only  be  hoped,  that  in  the  future  a  bundle  of  old  letters,  or  an  over- 
looked paragraph  in  an  old  newspaper,  may  identify  the  artist. 

«  See  Medals. 


Original  Portraits  of  Washington. 


JOHN  ECHSTEIN. 

John  Echstein,  second  engraver  United  States  Mint,  in  T796  executed  from  life 
a  miniature  bust  of  Washington,  which  was  engraved  for  an  Indian  medal.  This  bust,  a 
strong  plastic  portrait,  and  the  last  taken,  was  formerly  the  property  of  Mrs.  Madison, 
and  is  now  owned  by  J.  C.  McGuire  of  Washington,  D.C.  In  18 12  Echstein  exhibited  a 
model  for  an  equestrian  statue  of  Washington  in  Roman  costume,  the  head  being  a  fol- 
lowing of  this  cabinet  bust. 


—  ECCLESTON. 


  Eccleston,  a  young  Virginia  artist,  also  modelled  Washington's  head  from  life 

in  1796,  and  executed  a  marble  bust,  which  was  said  at  the  time  to  be  a  better  work 
than  that  by  Echstein ;  but  of  this  effort  no  history  has  been  traced. 


MRS.   PATIENCE  LOVELL  WRIGHT. 


NEW  JERSEY. 
1725-1785. 

RS.  WRIGHT,  the  mother  of  Joseph  Wright,  was  a  woman  of  great  independ- 
ence and  ability.    She  executed  in  wax  a  bas-relief  of  Washington,  and  also 
a  remarkably  well-modelled  bust  in  wax,  which  she  gave  to  the  late  H.  P. 
Beck  of  Philadelphia.    Another  was  formerly  in  the  possession  of  Ferdinand 
J.  Dreer  of  the  same  city,  but  it  was  accidentally  broken. 

Mrs.  Wright  was  a  Quakeress  ;  and  her  home  was  in  Bordentown,  N.J.  It  is  said  of 
her,  that  she  was  so  astute  in  foretelling  political  events,  that  she  was  sometimes  called 
"Sibylla"  or  "The  Sibyl."  She  spent  a  number  of  years  in  England,  where  at  one  time 
she  was  freely  admitted  to  the  presence  of  George  III.,  familiarly  addressing  that  monarch 
as  "  George ;  "  but  she  lost  his  favor  by  scolding  him  in  round  terms  for  sanctioning,  or 
rather,  for  not  putting  an  end  to,  the  American  war.  True  to  the  tenets  of  her  sect, 
she  never  failed  to  bear  testimony  against  strife  and  bloodshed.  She  practised  her  art  in 
London,  making  a  full-length  statue  in  wax  of  Lord  Chatham,  which  is  preserved  in  a 
glass  case  in  Westminster  Abbey.  The  London  Athenaeum  of  1785  styles  her  "the  Pro- 
methean modeller."  Her  patriotism  was  exalted  and  practical,  and  she  was  in  correspond- 
ence with  the  leaders  of  the  Revolution,  both  at  home  and  abroad  ;  and  under  the  pro- 
tection of  her  Quaker  garb  this  keen-witted  woman  was  able  to  render  valuable  services 
to  the  struggling  colonists,  and  relief  to  our  suffering  prisoners. 

The  following  letter  to  Mr.  Jefferson,  then  in  Paris,  relative  to  our  subject,  is  charac- 
teristic :  — 

London,  at  the  Wax-work,  Aug.  14,  1785. 
Honoured  Sir,  —  I  had  the  pleasure  to  hear  that  my  son,  Joseph  Wright,  had  painted  the  best 
likeness  of  our  Hero  Washington,  of  any  painter  in  America ;  and  my  friends  are  anxious  that  I 
should  make  a  likeness,  a  bust  in  wax,  to  be  placed  in  the  state-house,  or  some  new  public  building 
that  may  be  erected  by  Congress.  The  flattering  letters  from  gentlemen  of  distinguished  virtues  and 
rank,  and  one  from  that  general  himself,  wherein  he  says,  "He  shall  think  himself  happy  to  have 
his  bust  done  by  Mrs.  Wright,  whose  uncommon  talents,  &c.  &c."  make  me  happy  in  the  prospect  of 
seeing  him  in  my  own  country.    I  most  sincerely  wish  not  only  to  make  the  likeness  of  Washington, 

»5' 


152 


Original  Portraits  of  Washington. 


but  of  those  five  gentlemen  who  assisted  at  the  signing  of  the  treaty  of  peace,  that  put  an  end  to  so 
bloody  and  dreadful  a  war.  The  more  public  the  honours  bestowed  on  such  men  by  their  country, 
the  better.  To  shame  the  English  king,  I  would  go  to  any  trouble  and  expense.  To  add  my  mite 
to  the  stock  of  honour  due  to  Adams,  Jefferson  and  others,  to  send  to  America,  I  will,  if  it  is  thought 
proper  to  pay  my  expense  of  travelling  to  Paris,  come  myself  and  model  the  likeness  of  Mr.  Jeffer- 
son ;  and  at  the  same  time  see  the  picture,  and  if  possible,  by  this  painting,  which  is  said  to  be  so 
like  him,  make  a  likeness  of  the  General. 

I  wish  likewise  to  consult  with  you,  how  best  we  may  honour  our  country,  by  holding  up  the 
likenesses  of  our  eminent  men,  either  in  painting  or  wax-work.  A  statue  in  marble  is  already  ordered, 
and  an  artist  gone  to  Philadelphia  to  begin  the  work.    [Houdon.]    This  is  as  I  wished  and  hoped. 

The  letter  concludes  with  a  caution  against  sending  to  London  the  portrait  referred 
to  (undoubtedly  that  painted  by  her  son  for  the  Count  de  Solms),  on  account  of  the 
enmity  of  the  government  and  the  espionage  of  the  police. 

All  doubt  in  regard  to  Mrs.  Wright's  having  made  portraits  from  life  of  Washington 
seem  dispelled  by  this  certificate  on  a  photograph :  — 

"  Washington.  From  an  original  now  made  Public  for  the  First  time.  The  original  of  this  New 
Likeness  of  the  Father  of  his  Country,  was  modelled  from  Life  in  Wax  by  Mrs.  Wright  the  Great 
American  Modeller  of  the  Revolution.  It  was  presented  by  herself  to  the  Late  Paul  Beck,  Esq. 
His  son  has  kindly  permitted  us  to  make  this,  the  only  copy  in  existence.  Its  genuineness  can 
therefore  be  vouched  for,  without  a  question.  1865. 

"Photo'  by  Menderworth,  Taylor  &  Brown  914  Chestnut  St.  PhiK" 

Her  Washington  profile  view  was  used  for  a  large,  elaborately  decorated  pitcher,  such 
as  patriotic  sea-captains  were  wont  to  order  from  London  on  reaching  port  after  a  long 
voyage.  One  of  these,  some  years  since,  was  presented  to  the  Massachusetts  Historical 
Society  by  Major  J.  W.  M.  Appleton.  On  one  side  is  the  ship  "  Lydia ; "  on  the  other, 
the  portrait;  in  the  front,  the  initials  "  R.  T.  C."  (in  monogram);  below,  an  eagle  dis- 
played with  thirteen  stars,  flags,  liberty- cap,  etc. 

This  earnest,  heroic  woman's  name,  like  that  of  another  equally  devoted  Friend, 
Betsey  Ross,  —  the  industrious  maker  of  the  first  American  flags,  —  is  enrolled  on  the 
pages  of  the  history  of  the  American  Revolution. 


JEAN  ANTOINE  HOUDON. 


FRANCE. 
1741-1828. 

HE  first  monument  to  perpetuate   the  fame  of  Washington  was  erected  by 
the  State  of  Virginia,  in  demonstration   of  the  pride  which  she  felt  for  her 
illustrious  son  ;  and  within  the  walls  of  the  Capitol  at  Richmond  stands  the 
only  original  statue  of  the  commander-in-chief  of  the  armies  of  the  Revolu- 
tion, and  the  first  President  of  the  United  States  of  America. 

The  history  of  this  work  is  composed  of  a  chain  of  events  linking  together  the  names 
of  some  of  the  most  distinguished  men  of  the  period.  The  work  itself,  even  allowing  its 
mannerisms,  is  of  highest  value ;  and  the  "  old  Commonwealth "  justly  appreciates  its 
claims.  The  initiatory  steps  for  its  execution  were  taken  in  the  House  of  Delegates, 
May  15,  1784,  by  the  appointment  of  a  committee  to  draw  up  an  address  to  Gen. 
Washington  to  congratulate  him  upon  his  safe  return  to  his  beloved  home  at  Mount 
Vernon  after  eight  years  of  arduous  service ;  to  express  the  gratitude  of  that  body  for 
his  zeal  and  success  in  the  defence  of  his  country's  liberty;  and  also  "to  consider  what 
further  measures  may  be  necessary  for  perpetuating  the  gratitude  and  veneration  of  his 
country  to  Gen.  George  Washington." 

This  committee  consisted  of  Messrs.  Ronald,  Madison,  Roane,  Corbin,  Heath,  Mann, 
Hubard,  Cary,  Henry,  Tazewell,  Page,  and  Taylor.  On  June  5  Mr.  Ronald,  chairman  of 
the  committee,  reported  the  resolutions  and  address  to  Gen.  Washington,  which  were 
unanimously  adopted  ;  and  on  the  26th  of  June  the  Senate  approved  the  following,  which 
had  been  reported  by  a  joint  committee  of  the  two  Houses :  — 

"The  representatives  of  the  Commonwealth  would  be  unfaithful  to  the  sentiments  of  their 
constituents,  as  well  as  do  violence  to  their  own,  did  they  omit  this  occasion  of  congratulating  you 
on  the  final  establishment  of  peace  which  has  taken  place  since  their  last  meeting,  and  on  the 
opportunity  which  this  event  has  given  for  your  return  to  the  felicities  of  private  life.  We  shall  ever 
remember,  sir,  with  gratitude  and  affection,  the  patriotic  exchange  which  you  made  of  these  felicities 
for  the  severe  task  of  conducting  the  armies  of  your  country  through  a  conflict  with  one  of  the 
most  powerful  nations  of  the  earth.    We  shall  ever  remember  with  admiration  the  wisdom  which 

'53 


154 


Original  Portraits  of  Washington. 


marked  your  councils  on  this  arduous  occasion,  the  firmness  and  dignity  which  no  trials  of  adverse 
fortune  could  shake,  the  moderation  and  equanimity  which  no  scenes  of  triumph  could  disturb.  Nor 
shall  we  ever  forget  the  exemplary  respect  which  in  every  instance  you  have  shown  to  the  rights 
of  civil  authority,  or  the  exalted  virtue  which  on  many  occasions  led  you  to  commit  to  danger  your 
fame  itself,  rather  than  hazard  for  a  moment  the  true  interests  of  your  country.  In  reviewing  these 
merits,  we  feel  every  impression  which  they  were  calculated  to  make  on  grateful  and  affectionate 
minds,  and  we  fervently  pray  that  they  may  be  rewarded  with  every  blessing  of  which  this  life  will 
admit,  and  with  complete  happiness  in  that  which  is  to  come." 

This  address  was  presented  by  the  joint  committee,  consisting  of  Messrs.  Jones,  Gray- 
son, West,  Brent,  and  Henderson,  at  Mount  Vernon,  July  15,  1784;  to  which  Washington 
replied :  — 

"Gentlemen, — With  feelings  which  are  more  easy  to  be  conceived  than  expressed,  I  meet  and 
reciprocate  the  congratulations  of  the  representatives  of  this  Commonwealth  on  the  final  establishment 
of  peace.  Nothing  can  add  more  to  the  pleasure  which  arises  from  a  conscientious  discharge  of 
public  trust  than  the  approbation  of  one's  country.  To  have  been  so  happy,  under  a  vicissitude  of 
fortune,  amidst  the  difficult  and  trying  scenes  of  an  arduous  conflict,  as  to  meet  this,  is  in  my  mind 
to  have  attained  the  highest  honor ;  and  the  consideration  of  it  in  my  present  peaceful  retirement 
will  heighten  all  my  domestic  joys,  and  constitute  my  greatest  felicity.  I  should  have  been  truly 
wanting  in  duty,  and  must  have  frustrated  the  great  and  important  object  for  which  we  resorted  to 
arms,  if,  seduced  by  a  temporary  regard  for  fame,  I  had  suffered  the  paltry  love  of  it  so  to  interfere 
with  my  country's  welfare,  the  interest  of  which  was  the  only  inducement  which  carried  me  into  the 
field,  or  permitted  the  sacred  rights  of  civil  authority  (though  but  for  a  moment)  to  be  violated  and 
infringed  by  a  power  meant  originally  to  rescue  and  confirm  them. 

"  For  those  rewards  and  blessings  which  you  have  invoked  for  me  in  this  world,  and  for  the 
fruition  of  that  happiness  which  you  pray  for  in  that  which  is  to  come,  you  have,  gentlemen,  all  my 
thanks  and  all  my  gratitude.  I  wish  I  could  insure  them  to  you  and  the  State  you  represent  a 
hundred-fold." 

The  following  resolution,  unanimously  adopted  by  the  General  Assembly  of  Virginia, 
answers  the  inquiry  as  to  "  what  further  measures  may  be  necessary  for  perpetuating  the 
gratitude  and  veneration  of  his  country  to  Gen.  George  Washington  : "  — 

In  the  House  of  Delegates,  Tuesday,  June  the  22nd,  1784. 
Resolved,  That  the  Executive  be  requested  to  take  measures  for  procuring  a  statue  of  General 
Washington,  to  be  of  the  finest  marble  and  best  workmanship. 

An  inscription  for  one  side  was  also  determined  upon.  Scenes  from  the  Revolution, 
though  not  specified,  were  intended  to  embellish  the  remaining  sides. 

Thomas  Jefferson  and  Benjamin  Franklin,  then  in  Paris,  as  representatives  of  the 
United  States,  were  selected  to  decide  upon  a  sculptor ;  and  it  is  to  them  we  are  in- 


Busts,  S tatties,  Monuments  and  Medals. 


155 


debted  for  the  services  of  Houdon.  The  letters  of  Mr.  Jefferson  give  a  clear  history  of 
the  minute  details  of  the  care  which  both  he  and  Dr.  Franklin  gave  to  conscientiously 
fulfilling  the  trust  imposed  upon  them.  Mr.  Jefferson  was  especially  careful,  energetic, 
and  desirous  to  procure  the  services  of  the  best  sculptor,  as  Houdon  was  then  esteemed 
to  be ;  and  that  his  mind  was  perfectly  satisfied  in  regard  to  the  necessity  for  the  life- 
cast  appears  in  this  extract,  written  to  Washington  from  Paris,  July  io,  1785:  — 

"M.  Houdon  would  much  sooner  have  had  the  honor  of  attending  you,  but  for  a  spell  of  sick- 
ness which  long  induced  us  to  despair  of  his  recovery,  and  from  which  he  has  but  recently  recovered. 
He  comes  now  for  the  purpose  of  lending  the  aid  of  his  art  to  transmit  you  to  posterity.  He  is 
without  rivalship  in  it,  being  employed  in  all  parts  of  Europe  in  whatsoever  is  capital.  He  has  had 
a  difficulty  to  withdraw  himself  from  an  order  of  the  Empress  of  Russia,  —  a  difficulty,  however,  that 
arose  from  a  desire  to  show  her  respect,  but  which  never  gave  him  a  moment's  hesitation  about  the 
voyage,  which  he  considers  as  promising  the  brightest  chapter  of  his  history.  I  have  spoken  of  him 
as  an  artist ;  but  I  assure  you  also,  that,  as  a  man,  he  is  disinterested,  generous,  candid,  and  panting 
after  glory  ;  in  every  circumstance  meriting  your  good  opinion.  He  will  have  to  see  you  much  while 
he  shall  have  the  honor  of  being  with  you,  which  you  can  the  more  admit  as  his  eminence  and 
merit  give  him  admission  into  genteel  societies  here."  « 

It  will  be  remembered,  that,  to  obviate  the  necessity  of  Houdon's  coming  to  America, 
C.  W.  Peale  had  been  employed  to  paint  a  full-length  portrait  as  a  model  for  him.  But 
the  sculptor  was  not  content  with  less  than  an  original  cast.  That  Jefferson  had  discussed 
the  importance  of  obtaining  the  measurement  of  Washington's  figure,  and  of  taking  a 
mould  from  his  face,  rather  than  trust  to  a  portrait,  is  shown  by  this  extract :  — 

"In  a  letter,  Jan.  12"  [doubtless  after  the  Peale  portrait  had  arrived],  "I  informed  Gov.  Har- 
rison of  the  necessity  that  the  statuary  should  see  Gen.  Washington.  M.  Houdon  will  therefore  go 
over  with  Dr.  Franklin  some  time  next  week." 

Washington,  who  was  the  soul  of  hospitality,  received  Houdon  with  all  the  considera- 
tion due  his  genius  and  his  mission.  Immediately  upon  his  arrival  in  New  York  he  wrote 
a  cordial  letter  of  welcome  and  invitation,  couched  in  the  stilted  ceremonial  of  the  times. 
He  wrote  also  to  Dr.  Franklin,  to  Jefferson,  and  to  Lafayette,  saying  to  the  latter,  in  a 
letter  from  Mount  Vernon,  Nov.  8,  1785, — 

"I  have  to  thank  you  for  your  favors  of  the  9th  and  14th  of  July  by  M.  Houdon,  who  stayed 
no  more  than  a  fortnight  with  me,  and  to  whom,  for  his  trouble  and  risk  in  crossing  the  seas, 
although  I  had  no  agency  in  the  business,  I  feel  myself  under  personal  obligation." 

Houdon  arrived  at  Philadelphia  in  midsummer,  but  did  not  reach  Mount  Vernon  until 
Oct.  2,  1785,  being  detained  by  the  non-appearance  of  his  workmen  and  materials,  which 


i56 


Original  Portraits  of  Washington. 


were  to  have  shipped  with  him  from  Havre.  Extracts  from  Washington's  journal  present 
pictures  of  life  at  Mount  Vernon,  as  well  as  an  account  of  Houdon's  sojourn  of  two 

weeks  :  — 

"Oct.  2"d  Sunday.  —  After  we  were  in  Bed  (about  eleven  O'clock  in  the  evening,)  Mr.  Houdon, 
sent  from  Paris  by  Doct.  Franklin  and  Mr.  Jefferson  to  take  my  Bust  in  behalf  of  the  state  of 
Virginia,  with  three  young  men  assistants,  introduced  by  Mr.  Perin,  a  French  Gentleman  of  Alex- 
andria,—  arrived  here  by  water  from  the  latter  place.  .  .  . 

"  Jth  (Friday).  —  Sat  to-day,  as  I  did  yesterday,  to  Mr.  Houdon,  for  my  Bust. 

" ()"'  (Sunday). — Accompanied  by  Mr.  Houdon  and  the  two  Miss  Bassetts  attended  the  Funeral 
of  Mrs.  Manley,  at  the  Plantation  of  Mr.  Will  Triplett,  and  returned  to  dinner." 

The  following  entry  illustrates  one  of  Washington's  strongest  characteristics,  —  his 
observance  of  minute  details  in  every  concern  of  life,  whether  public  or  private  :  — 

"  Monday,  10th.  —  Observed  the  process  for  preparing  the  Plaister  of  Paris  &  mixing  of  it  accord- 
ing to  Mr.  Houdon.  The  oven  being  made  hotter  than  it  is  usually  heated  for  Bread,  the  Plaister, 
which  had  been  previously  broken  into  lumps  —  that  which  was  hard  to  about  the  size  of  a  pullet's 
egg,  and  that  which  was  soft,  and  could  be  broken  with  the  hands,  larger,  —  was  put  in  about  noon 
and  remained  until  night  ;  when  upon  examination,  it  was  further  continued  until  the  morning,  without 
any  renewal  of  the  heat  in  the  oven  ;  which  was  close  stopped.  Having  been  sufficiently  calcined 
by  this  operation,  it  was  pulverized  (in  my  new  marble  mortar,)  &  sifted  for  use  through  a  fine  lawn 
sieve  &  kept  from  wet.  When  used,  it  is  put  into  a  Bason  or  other  vessel  with  water  sifted  through 
the  fingers,  till  the  water  is  made  as  thick  as  Loblolly  or  very  thick  cream.  As  soon  as  the  Plaister 
is  thus  put  into  the  water,  it  is  beat  with  an  Iron  spoon  (almost  flat)  until  it  is  well  mixed  ;  and 
must  be  immediately  applied  to  the  purpose  for  which  it  is  intended  with  a  brush  or  whatever  else 
best  answers,  as  it  begins  to  turn  hard  in  four  or  five  minutes,  and  in  seven  or  ten  cannot  be  used 
&  is  fit  for  no  other  purpose  afterwards,  as  it  will  not  bear  wetting  a  second  time,  —  for  this  reason, 
no  more  must  be  mixed  at  a  time  than  can  be  used  within  the  space  just  mentioned.  The  brush 
(common  painter's)  must  be  put  into  water  as  soon  as  it  is  used,  and  the  plaister  well  squeezed  out, 
as  this  also  becomes  very  hard  ;  in  this  case,  to  clean  it,  it  must  be  heated  until  the  plaister  is 
reduced  to  a  powder,  &  then  washed. 

"12th  (Wednesday).  —  Mr.  Livingston  (son  of  Peter  Van  Brunt  Livingston,  of  New  York,)  came 
to  dinner  and  stayed  all  night.  Mr.  George  Washington  and  Mr.  Burrett  Bassett  went  to  the  Clerk's 
office,  then  to  Col.  Mason's  for  a  license  &  returned,  having  accomplished  their  mission.  In  the  evening 
Mr.  Madison  came." 

(The  cast  said  to  have  been  made  in  the  presence  of  Mr.  Madison  was  probably  done 
on  Thursday,  Oct.  13,  1785;  though  Washington  does  not  record  it  in  this  connection.) 

"14"'  (Friday).  —  Mr.  Madison  went  away.  My  chariot,  in  which  he  went,  brought  back  Miss 
Sally  Ramsay  and  Miss  Kitty  Washington  to  be  Bridesmaids  to-morrow  at  the  wedding  of  Miss 
Bassett. 


Busts,  Statues,  Monuments,  and  Medals. 


157 


"  15th  (Saturday)- — After  the  candles  were  lighted,  George  Augustine  Washington  and  Frances 
Bassett  were  married  by  Mr.  Greyson.  .  .  . 

"  19th  (Wednesday).  —  Mr.  Houdon,  having  finished  the  business  which  brought  him  hither,  went 
upon  Monday  (1711')  with  his  People,  work,  and  impliments  in  my  Barge  to  Alexandria  to  take  Pas- 
sage in  the  Stage  for  Philadelphia  next  morning." 

Houdon,  it  will  be  seen,  was  with  Washington  five  clays  before  he  attempted  to 
secure  a  portrait,  and  that  he  experienced  the  same  difficulty  painters  complained  of,  in 
getting  at  him,  will  be  seen  by  the  following  anecdote  from  "The  Philadelphia  Bulletin," 
Jan.  23,  1869  :  — 

"  At  last  it  happened  one  morning  there  came  down  to  Mt.  Vernon  from  Alexandria  a  horse- 
jockey  with  a  span  of  horses,  which  the  general  thought  of  purchasing.  The  Frenchman  was  asked 
by  his  host  to  go  out  and  take  a  look  at  the  animals.  They  were  clean-limbed,  satin-coated,  shapely 
horses,  of  high  action,  yet  perfectly  docile  and  well  broke.  The  general  expressed  his  satisfaction 
with  them,  and  demanded  the  price.  The  jockey  said,  'Two  thousand  dollars,'  —  at  that  time  a  most 
exorbitant  figure.  The  evident  attempt  to  extort  an  unreasonable  sum  so  moved  Washington's 
indignation,  that  he  bade  the  fellow  begone.  'Ah!'  said  Houdon  in  an  ecstasy,  'this  is  the  position 
for  my  statue !  I  have  it ;  I  have  it ! '  Taking  out  his  pencil,  he  hastily  sketched  the  attitude 
thus  accidentally  assumed  by  the  general,  and  afterwards  fixed  it  in  enduring  stone  with  his  match- 
less chisel." 

The  agreement  with  Houdon  required  that  this  work  should  be  executed  within  three 
years;  but  it  was  not  finished  until  1789:  and,  as  the  new  Capitol  at  Richmond  was  not 
completed  before  1796,  M.  Houdon  did  not  ship  the  statue  until  Jan.  25  of  that  year. 
Mr.  Jefferson  had  left  Paris ;  and  Mr.  Monroe,  then  United-States  minister  to  France,  was 
selected  by  Gov.  Brooke  of  Virginia  to  have  charge  of  the  statue.  It  was  shipped  on 
"The  Planter"  from  Havre  to  Philadelphia,  and  from  thence  to  Norfolk,  "for  account  and 
risk  of  the  Governor  and  Council  of  the  town  of  Richmond,  State  of  Virginia."  It  was 
designated  in  the  bill  of  lading  as  "  three  cases,  one  of  which  contains  the  marble  pedester 
statue  of  General  Washington,  and  the  two  others  contain  the  marble  pedestal  of  said 
statue." 

In  Fenno  s  "Gazette  of  the  United  States,"  Philadelphia,  May  11,  1796,  is  given  an 
account  of  its  reception  :  — 

Richmond  May  4th  1796. 

On  Monday  last  the  corps  of  artillery,  infantry,  and  cavalry,  of  this  city,  paraded  in  honour  of 
the  American  Saint ;  and  upon  hearing  that  the  statue  of  General  Washington,  which  lately  arrived 
from  Paris,  was  about  to  be  brought  up  from  Rocket's,  they  marched  down  and  escorted  it  with 
military  honours  to  the  Capitol,  which  excited  emotions  of  pleasure  and  gratitude  in  every  beholder." 

The  following  description  of  the  finished  statue  is  from  the  pen  of  Col.  Sherwin 
McRea,  extracted  from  his  very  able  monograph,  "  The  Houdon  Statue :  its  History  and 


i58 


Original  Portraits  of  Washington. 


Value,"  which  the  Legislature  of  Virginia  caused  to  be  printed  in  1873  as  a  State  docu- 
ment :  — 

"The  statue  presents  the  figure  erect,  the  sword  in  the  left,  the  cane  in  the  right  hand, — 
representing  in  device  what  Washington  had  so  forcibly  expressed  in  his  reply  to  the  address  of  the 
General  Assembly  of  Virginia,  the  subordination  of  the  military  to  the  civil  power, — the  fasces  and 
ploughshare  by  his  side  ;  the  one  representing  authority,  the  other  the  peaceful  arts  most  congenial 
to  his  tastes  and  feelings.  The  beautiful  harmony  between  these  simple  devices  and  the  character 
of  Washington  inspires  the  spectator  with  the  most  pleasing  emotions.  The  dress  which  he  wore  in 
the  service  of  his  country  displays  the  proportions  of  his  figure  with  an  exactitude  which  antiquity, 
embarrassed  by  drapery  and  the  toga,  could  only  attain  in  nudity.  The  position  is  true  to  nature, 
yet  revealing  a  grace  art  cannot  equal.  The  expression  is  that  of  dignity  and  repose.  Washington 
stands  before  us,  as  in  life,  the  marvel  and  the  admiration  of  the  world,  and  the  cherished  object 
of  the  affection  of  his  native  State.  No  statue  or  painting  exists  more  thoroughly  authenticated  than 
the  Houdon  statue.  From  its  inception  to  its  completion,  it  is  historically  marked  by  a  chronological 
record  of  facts,  resolutions,  correspondence,  and  inscriptions,  which  will  preserve  its  identity  and 
character  through  all  time ;  and,  what  is  most  rare,  its  perfect  similitude  to  the  original  is  established 
by  facts  and  opinions  as  convincing  as  human  testimony  can  furnish.  .  .  .  No  other  representation 
of  the  person  of  Washington  is  distinguished  by  one  tithe  of  the  evidence  of  the  minutiae  necessary 
to  exactness  as  that  of  Houdon.  Houdon's  visit  to  Mount  Vernon ;  his  cast  of  the  face,  head,  and 
upper  part  of  the  body,  and  minute  measurements  of  the  person  with  mathematical  exactness  ; 
Jefferson's  letter  to  Gov.  Harrison,  informing  him  that  it  is  necessary  that  the  statuary  should  see 
Gen.  Washington,  although  he  has  a  full-length  portrait  by  Peale,  etc., — these  facts  lead  to  the  irre- 
sistible conclusion  that  Houdon,  Mr.  Jefferson,  Dr.  Franklin,  Gov.  Harrison,  and  all  who  were  engaged 
in  the  matter  of  the  statue,  regarded  an  exact  likeness  of  Washington  as  the  grand  desideratum,  and 
that  the  measures  adopted  by  Houdon,  and  none  other,  could  secure  such  a  result." 

The  height  of  the  statue,  as  recently  taken,  is  just  six  feet  two  inches,  —  the  precise 
height  of  Washington  in  his  prime.  The  sculptor,  no  doubt,  intended  that  this  statue 
should  present  the  proportions  of  Washington  as  nearly  as  could  be  achieved  by  the  chisel : 
therefore  not  only  the  face,  but  the  form,  has  indisputable  claim  to  acceptance.  Regarding 
the  dress  and  pose  there  is  cause  for  criticism.  It  is  not  easy  to  reconcile  the  cane  and 
sword,  —  a  clumsy  effort  to  convey  a  beautiful  sentiment,  and  a  mistake  of  the  artist  in 
attempting  the  impossible,  which  must  always  offend  aesthetic  taste.  The  civil  and  the  mili- 
tary cannot  in  art  be  united.  The  subject  of  the  drapery  or  dress  was  the  occasion  of  much 
consultation  and  correspondence.  The  letters  of  Washington  and  Jefferson  relative  to  it 
were  replete  with  interest,  and  illustrate  the  urbanity,  dignity,  and  wisdom  of  each.  The 
artist  certainly  renders  the  drapery  with  graceful  fidelity,  and  it  is  doubtful  if  a  more  satis- 
factory costume  could  have  been  chosen.  Jan.  4,  1786,  Jefferson  thus  wrote  to  Washington 
from  Paris :  — 


Busts,  Statues,  Monuments,  and  Medals. 


159 


"Dr.  Franklin,  who  was  joined  with  me  in  the  superintendence  of  this  just  monument,  having 
left  us  before  what  is  called  the  costume  of  the  statue  was  decided  on,  I  cannot  so  well  satisfy 
myself,  and  am  persuaded  should  not  so  well  satisfy  the  world,  as  by  consulting  your  own  wish  as 
to  this,  or  inclination  as  to  this  article.  Permit  me,  therefore,  to  ask  you  whether  there  is  any  par- 
ticular dress,  or  any  particular  attitude,  which  you  would  rather  wish  to  be  adopted.  I  shall  take  a 
singular  pleasure  in  having  your  own  idea  executed,  if  you  will  be  so  good  as  to  make  it  known  to 
me." 

Washington's  reply  is  dated  Mount  Vernon,  Aug.  1,  1796. 

"  In  answer  to  your  obliging  letter  respecting  the  dress  and  attitude  which  I  would  wish  to  have 
given  to  the  statue  in  question,  —  I  have  only  to  observe,  that  not  having  sufficient  knowledge  in  the 
art  of  sculpture  to  oppose  my  judgment  to  the  taste  of  connoisseurs,  I  do  not  desire  to  dictate  in 
the  matter.  On  the  contrary,  I  shall  be  perfectly  satisfied  with  whatever  may  be  judged  decent  and 
proper.  I  shall  even  scarcely  have  ventured  to  suggest  that,  perhaps,  a  servile  adherence  to  the 
garb  of  antiquity  might  not  be  altogether  so  expedient  as  some  little  deviation  in  favour  of  the 
modern  costume,  if  I  had  not  learnt  from  Col.  Humphreys  that  this  was  a  circumstance  hinted  in 
conversation  by  Mr.  West  to  M.  Houdon.  This  taste,  which  has  been  introduced  in  painting  by 
West,  I  understand  is  received  with  applause  and  prevails  extensively." 

In  replying  to  this  communication,  Aug.  14,  1787,  Jefferson  pithily  and  pertinently 
says,  — 

"I  was  happy  to  find,  by  the  letter  of  Aug.  1,  1786,  which  you  did  me  the  honor  to  write  to 
me,  that  the  modern  dress  for  your  statue  would  meet  your  approbation.  I  found  it  strongly  the 
sentiment  of  West,  Copley,  Trumbull,  and  Brown,  in  London  ;  after  which  it  would  be  ridiculous  to 
add  that  it  is  my  own.  I  think  a  modern  in  an  antique  dress  as  just  an  object  of  ridicule  as  a 
Hercules  or  Marius  with  a  periwig  and  a  chapeau-bras." 

There  was  a  difference  of  opinion  as  to  the  length  and  style  of  the  inscription.  Mr. 
Jefferson  thus  wrote  to  Mr.  Madison  from  Paris,  Feb.  8,  1786, — 

"  Houdon  has  returned.  He  called  on  me  the  other  day  to  remonstrate  against  the  inscription 
proposed  for  Gen.  Washington's  statue.  He  says  it  is  too  long  to  be  put  upon  the  pedestal.  I  told 
him  I  was  not  at  liberty  to  permit  any  alteration  ;  but  I  would  represent  his  objection  to  a  friend, 
who  could  judge  of  its  validity,  and  whether  a  change  could  be  authorized.  This  has  been  the  subject 
of  conversation  here,  and  various  devices  and  inscriptions  have  been  suggested.  The  one  which 
appears  best  to  me  may  be  translated  as  follows :  — 

Behold,  reader,  the  form  of  George  Washington. 
For  his  worth,  ask  history, 
That  will  tell  it,  when  this  stone  shall  have  yielded  to  the  decay  of  time. 
His  country  erects  this  monument. 
Houdon  makes  it. 


i6o 


Original  Portraits  of  Washington. 


"This  for  one  side;  on  the  second  represent  the  evacuation  of  Boston,  with  the  motto,  '  Hos- 
tibus  primum  fugatis  ; '  on  the  third,  the  capture  of  the  Hessians,  with  '  Hostibus  iterum  devictis ; ' 
on  the  fourth,  the  surrender  of  Yorktown,  with  '  Hostibus  ultimatum  de  bellatis.'  " 

Mr.  Madison,  in  reply,  conceded  that  the  substitute  was  preferable  to  his  own  inscrip- 
tion, but  doubted  if  a  change  could  then  be  made.  He  approved  of  the  relievos  on  the 
three  remaining  sides,  saying,  — 

"  I  counted  myself  on  the  addition  of  proper  ornaments,  and  am  persuaded  such  a  liberty  could 
give  offence  nowhere." 

Consequently  there  was  no  change.  On  the  south  side  of  the  pedestal  (the  statue 
facing  south)  is  the  original  inscription  as  adopted  by  the  General  Assembly ;  viz.,  — 

The  General  Assembly  of  the  Commonwealth  of  Virginia 
Has  caused  this  statue  to  be  erected  as  a  monument  of  affectionate  gratitude  to 

George  Washington, 
Who  uniting  to  the  Endowments  of  the  Hero, 
The  Virtues  of  the  Patriot, 
And  exerting  both  in  establishing  the  Liberties  of  this  Country, 
Has  rendered  his  name  dear  to  his  Fellow-Citizens, 
And  given  the  world  an  immortal  Example  of  true  Glory. 
Done  in  the  year  of 
Christ 

One  thousand,  seven  hundred  and  eighty  eight,  and  in  the  year  of  the  Commonwealth,  the  Twelfth. 

On  the  east  side,  in  script,  are  the  words,  "Fait  par  houdon,  citoyen  francais,  1788." 
The  artist's  signature  recalls  his  reply  to  Jefferson,  when  offered  the  commission  for  the 
statue :  — 

"  It  would  be  the  glory  ot  my  life  to  be  enabled  to  place  my  name  humbly  upon  the  plinth  of 
a  statue  representing  that  good  and  great  man.'' 

Sufficient  has  been  given  to  show  Houdon's  great  interest  in  his  work,  and  his  recog- 
nition, not  only  of  the  value  it  would  possess  to  the  world,  but  that  perhaps  it  would 
remain  the  chief  specimen  of  his  skill,  and  perpetuate  his  own  name,  as  well  as  the  fame 
of  Washington.  Against  the  wishes  of  friends  and  the  almost  commands  of  royal  patrons, 
he  ventured  on  the  voyage,  greatly  to  the  interruption  of  his  business,  as  well  as  his 
comfort.  Under  the  circumstances,  therefore,  he  would  not  have  left  any  part  of  the 
necessary  preparations  for  an  authentic  statue  incomplete.  It  has  been  held  by  some  that 
the  head  alone  was  modelled  from  life.  It  cannot  be  doubted  from  the  evidence  that  thr 
whole  figure  was  also  modelled. 


Busts,  Statues,  Monuments,  and  Medals.  1 6 1 


Jefferson  wrote  to  Adams,  upon  the  completion  of  the  contract  for  the  statue,  "  Mon- 
sieur Houdon  has  agreed  to  go  to  America  to  take  the  figure  of  Gen.  Washington."  The 
sculptor  came  expressly  and  well  prepared  for  that  purpose,  with  three  young  men  assistants; 
yet  in  his  diary  Washington  always  refers  to  the  artist  taking  "  My  Bust." 

At  least  three  persons  have,  in  conversation  and  in  written  communication,  spoken  of 
the  life  measurements  and  casts, — Judge  Brooke,  James  Madison,  and  G.  W.  P.  Custis. 
The  latter,  though  but  a  boy,  was  probably  all  the  more  impressed,  and  thus  recorded  his 
testimony  in  a  communication  to  "The  Washington  Globe,"  Sept  12,  1854:  — 

"  My  dear  Sir,  —  Yours  is  received.  The  statue  of  Houdon  is  and  must  ever  be  the  standard 
of  the  beloved  Washington,  It  was  taken  from  life  at  Mount  Vernon  in  October.  1785,  and  was 
modelled  in  wax  from  the  whole  person, — head  and  limbs." 

Lafayette  is  quoted  as  pronouncing  it  "  a  facsimile  of  Washington's  person." 

It  was  Houdon's  custom  to  model  the  entire  form;  and  two  of  his  "skinless  figures" 
are  said  to  be  in  the  Paris  Museum. 

That  Gouverneur  Morris  was  requested  by  Houdon  to  stand  for  Gen.  Washington 
only  indicates  that  the  French  sculptor  desired  some  American  1  to  appear  in  the  selected 
drapery,  or  to  act,  as  Morris  says  in  his  diary,  "  in  the  humble  employment  of  a  manikin." 
He  was  similar  in  height  and  proportion  to  Washington  ;  and  in  this  way  Houdon  could 
correctly  obtain  the  set  and  folds  of  the  cloth.  This  incident  has  suggested  the  idea  that 
the  head  only  was  Washington's,  and  the  figure  after  that  of  Mr.  Morris. 

The  sculptor  received  in  compensation  one  thousand  English  guineas,  and  his  expenses 
to  and  from  Virginia.  In  addition  to  this,  his  life  was  insured  during  his  absence  from 
France,  —  a  period  of  six  months.  Both  Mr.  Jefferson  and  Dr.  Franklin  thought  the  com- 
pensation too  small ;  in  truth,  scarcely  just.  The  artist  would  not  have  agreed  to  it  but 
for  the  hope  of  securing  the  commission  for  the  equestrian  statue  of  Gen.  Washington 
that  Congress  had  resolved,  two  years  previous,  "  should  be  erected  at  the  place  where 
the  residence  of  Congress  shall  be  established."    Mr.  Jefferson  wrote :  — 

"Nothing  but  the  expectation  of  this  could  have  engaged  him  to  have  undertaken  this  voyage, 
as  the  pedestrian  statue  for  Virginia  will  not  make  it  worth  the  business  he  loses  by  absenting 
himself.    I  was  therefore  obliged  to  assure  him  of  my  recommendation  for  this  greater  work." 

It  is  to  be  regretted  that  Congress  did  not  take  advantage  of  such  an  opportunity, 
as  Jefferson  urged  :  — 

"First,  he  is,  without  rivalship,  the  first  statuary  of  this  age,  as  a  proof  of  which  he  receives 
orders  from  every  other  country  for  things  intended  to  be  capital ;  second,  he  will  have  seen  Gen. 

1  Several  persons  stood  for  the  drapery. 


162 


Original  Portraits  of  Washington. 


Washington,  and  have  taken  his  measure  in  every  part,  and  of  course  whatever  he  does  of  him  will 
have  the  merit  of  being  original,  from  which  other  workmen  can  only  furnish  copies."  1 

According  to  archives  in  the  Executive  Department  of  the  State  of  Virginia,  the  statue 
was  on  May  14,  1796,  put  in  place  in  the  rotunda  of  the  Capitol,  —  on  the  main  floor, 
between  the  House  of  Delegates  and  the  Senate-chamber.  No  record  of  the  ceremony  is 
found.  On  account  of  the  supposed  insecurity  of  the  floor,  it  was  removed  a  few  years 
ago  from  its  pedestal,  but  by  a  joint  resolution  of  the  General  Assembly,  passed  April  1, 
1873,  was  restored  to  rts  former  place  in  the  Capitol. 

In  view  of  its  liability  to  injury,  either  from  fire  or  from  vandalism,  the  State  of  Vir- 
ginia, on  March  21,  1 85 1 ,  provided  for  the  taking  from  it  of  casts  for  the  colleges  of  the 
State.  On  Jan.  14,  1853,  the  sculptor  William  J.  Hubard  was  accorded  permission  to  make 
these  casts,  obtaining  (subject  to  certain  limitations)  an  exclusive  right  to  do  so  for  the 
period  of  seven  years.  Mr.  Hubard  took  only  two  casts  from  the  statue.  He  found  the 
marble  had  been  chipped  in  several  places,  and  had  been  injured  by  a  French  artist  who 
had  cleaned  it ;  and  therefore,  though  appreciating  the  great  favor  granted  him,  he  advised 
against  any  further  experiment  with  it. 

The  first  cast  made  by  Mr.  Hubard  was  purchased  for  the  sum  of  ten  thousand  dol- 
lars by  the  State  of  Virginia,  March,  1856,  to  be  placed  in  the  Military  Institute,  Lexing- 
ton. Henry  A.  Wise,  then  in  the  gubernatorial  chair  of  that  Commonwealth,  made  on 
the  occasion  an  address  replete  with  historic  facts  and  glowing  eloquence,  yet,  unhappily, 
not  devoid  of  sectional  bitterness.  He  gave  just  tribute  of  praise  to  the  ability,  patriotism, 
and  perseverance  of  the  courageous  artist  who  succeeded  in  reproducing  Houdon,  and 
making  the  first  bronze  statue  cast  in  this  country.    He  said, — 

"  Like  Houdon's,  Hubard's  is  a  passionate  performance.  He  is  both  a  painter  and  a  modeller 
in  statuary,  and,  artist-like,  is  poor,  with  a  wife  to  cherish  and  a  family  of  children  to  nurture  and 
educate.  He,  too,  'panted  for  glory,'  and  saw  a  chance  to  snatch  it  in  a  cast  from  Houdon,  as 
Houdon  had  caught  it  from  Washington.  The  difficulties  were  almost  insurmountable.  No  bronze 
statue  had  been  cast  whole  in  the  United  States.  He  had  no  furnace  like  that  for  the  statue  of 
Louis  XV.  There  were  no  experienced  men  of  Munich  in  our  country  to  mix  and  melt  and  mould 
the  metal ;  and  to  make  section-moulds,  such  as  Italians  use,  was  itself  almost  an  art." 

1  That  he  did  not  receive  this  commission  is  the  more  to  be  regretted  from  the  evidence  found  indicating  that  he 
made  a  study  for  such  a  work.  There  is  in  the  possession  of  the  Right  Hon.  George  Young,  Lord  Justice  of  the  Scot- 
tish Court  of  Sessions,  Edinburgh,  an  equestrian  statue  of  Washington,  executed  in  bronze.  It  is  about  thirty-six  inches 
in  height  from  the  head  to  the  pedestal.  This  is  said  to  have  been  by  a  German  artist,  most  probably  Rauch,  from 
Houdon's  design,  and  was  acquired  by  Lord  Young,  from  that  artist's  daughter,  twenty-five  years  ago.  Mr.  Simon 
Stevens  of  New  York,  who  furnishes  these  facts,  has  often  seen  the  statuette,  and  pronounces  it  to  be  "full  of  energy, 
dignity,  and  beauty." 


Busts,  Statues,  Monuments,  and  Medals. 


163 


The  governor  then  related  how  the  first  and  second  efforts  to  make  a  perfect  cast 
failed,  while  they  consumed  the  substance  of  the  artist,  who,  like  Palissy,  would  have  torn 
the  furniture  from  his  home  to  insure  success.  Finally  a  gentleman  in  Richmond  advanced 
the  sum  requisite  to  make  a  third  trial,  which  was  successful.  That  man  was  Joseph  Allen, 
who  gave  in  this  another  evidence  of  his  noble  generosity.  Then,  with  a  fervor  that  recalls 
the  tinkling  rhythm  of  Schiller's  "  Lay  of  the  Bell,"  Gov.  Wise  described  the  scene  of  the 
third  trial :  — 

"The  23d  of  February,  A.D.  1856,  arrived  for  it  to  be  made.  The  anxiety  oi  the  artist  was 
intense.  A  few  friends  were  present  to  mingle  their  hopes  and  fears  with  his,  and  to  witness  the 
opening  of  the  floodgates  of  the  furnace.  Two  failures  had  taught  necessary  precaution.  The  mould 
of  Washington  lay  firmly  waiting,  embedded  solid  under  the  lip  of  the  lava  spout.  Trie  vent-holes 
were  carefully  opened  for  the  flying  gas  and  heated  air ;  the  ponderous  lever  in  slings  broke  away  the 
furnace-gate;  and  the  fiery  current  came  red  and  rushing  in,  and  the  liquid  bronze  poured  on,  until 
the  mould  was  full,  and  laid,  a  boiling  lake,  muttering  and  bubbling,  whilst  it  slowly  cooled  to  a 
solid  sea  of  brass,  with  its  jagged  waves  fixed.  The  cast  was  raised,  and,  lo !  there  was  the  perfect 
copy  in  bronze  of  the  Houdon  which  we  see  before  us.  All  hail !  thou  triumph  of  Virginia's  art 
and  patriotic  devotion  !  " 

North  Carolina  took,  at  the  same  price  paid  for  the  first,  the  second  bronze  cast ; 
and  South  Carolina,  the  third,  —  each  for  the  public  grounds  in  their  capital  cities.  The 
fourth  was  sent  to  New- York  City,  where  it  was  purchased,  and  is  now  in  the  Central- 
Park  Museum.  In  a  "  Report  of  the  Committee  on  Arts  and  Sciences"  of  that  city,  issued 
in  i860,  the  mayor  is  urged  to  buy  this  bronze  by  W.  J.  Hubard,  the  artist  having  agreed 
to  sell  it  for  ten  thousand  dollars.  In  the  same  valuable  document  the  history  of  the 
original  statue  is  given,  chiefly  through  citations  of  official  records  and  of  the  original 
personal  correspondence.  The  fifth  cast,  which  was,  in  the  opinion  of  the  artist,  his  best 
production,  was  taken  to  St.  Louis,  where  Mr.  Hubard,  being  in  need  of  money,  secured 
an  advance  upon  it  of  fifteen  hundred  dollars.  It  was  afterwards  sold  for  fifty-seven  hun- 
dred dollars  to  settle  the  claim.  The  sharp  trader  pocketed  the  difference,  and  gave  no 
share  of  it  to  the  widow  and  children  of  Mr.  Hubard,  who  had  been  killed  in  battle,  on 
the  Confederate  side  of  the  civil  war,  by  the  explosion  of  a  shell. 

The  sixth  statue,  cast  in  i860,  is  now  placed  in  Madison  Square,  Richmond,  and  is 
the  property  of  Mrs.  William  J.  Hubard.    The  same  artist  reproduced  the  statue  in  plaster. 

No  one  can  doubt  that  it  would  have  been  a  far  better  investment  for  the  United- 
States  Government  to  have  purchased  one  of  the  bronze  statues  rather  than  the  plaster 
cast  in  Statuary  Hall  of  the  Capitol  at  Washington.  The  cost  of  the  latter  is  given  in 
the  "  Statement  of  Appropriations  and  Expenditures  from  the  National  Treasury  for  Pub- 
lic and  Private  Purposes  in  the  District  of  Columbia,  from  July  16,  1790,  to  June  30,  1876," 
as  follows :  — 


164 


Original  Portraits  of  Washington. 


"  Hubard's  statue  of  Washington.    To  compensate  the  widow  of  the  late  W.  J.  Hubard,  for  the 
statue  of  Washington  executed  by  him,  said  sum  in  full  of  all  demands  for  said  statue,  $2,000. 
"July  15,  1870." 

While  a'  comparison  cannot  be  instituted  between  the  original  Richmond  statue  and 
the  reproductions,  yet  there  is  a  certain  individual  value  in  these  bronze  casts  that  will 
increase  an  hundred-fold  in  the  event  of  any  disaster  happening  to  the  original.  Could 
not  a  more  secure  place,  or  a  more  perfect  provision,  be  made  for  this  original  Houdon, — 
this  statue,  which,  according  to  the  historian,  Virginians  prize  as  did  the  Cnideans  their 
peerless  Aphrodite  ? 

BUSTS  OF  WASHINGTON   BY  HOUDON. 

It  is  known  that  Houdon  rendered  in  marble  several  busts  of  Washington  ;  but  the 
number  is  not  fixed.  A  medallion  from  his  hand,  more  recently  owned  by  the  family  of 
D.  B.  Latimer  of  Baltimore,  was  obtained  by  T.  W.  Griffith,  many  years  ago  United-States 
consul  at  Havre. 

Deville,  a  French  artist,  who  had  a  studio  in  London,  owned,  or  had  in  his  possession, 
a  Houdon  bust,  from  which  he  made  casts.  The  casts  brought  by  Emmanuel  Leutze  to 
the  United  States  were  doubtless  taken  by  Deville.  Leutze  gave  one  to  George  W.  Riggs 
of  Washington,  D.C. ;  and  another  is  owned  by  Mrs.  Emily  Edson  Briggs  of  the  same 
city. 

The  most  interesting  and  best  authenticated  bust  of  Washington  in  marble  by  Houdon 
now  belongs  to  Hon.  Hamilton  Fish  of  New  York.  Its  history  is  briefly  told  in  an  extract 
from  a  letter  written  by  that  gentleman,  June  27,  1879:  — 

"  The  bust  of  Washington  by  Houdon  which  I  now  own  was  executed  by  Houdon,  as  I  was  told 
very  soon  after  his  return  to  France  from  the  United  States,  whither  he  had  come  to  take  the  like- 
ness, etc.  The  bust  was  ordered  and  made  for  the  late  Rufus  King ;  but,  for  some  reason  unknown 
to  my  informant,  he  did  not  take  it,  but  it  was  taken  by  the  Hon.  Oliver  Wolcott,  secretary  of  the 
treasury  under  the  administrations  of  Washington  and  of  John  Adams.  On  his  death  it  became 
the  property  of  his  daughter,  Mrs.  Gibbs,  who  sold  it  to  Henry  K.  Brown  the  sculptor,  who  modelled 
the  head  and  features  of  the  fine  equestrian  statue  of  Washington  in  Union  Square,  New  York,  from 
it.  When  Mr.  Brown  had  completed  the  statue,  I  purchased  the  bust  from  him.  This  was  about 
1854.  It  was  from  Mrs.  Gibbs  that  I  learnt  that  the  bust  had  been  ordered  by  Mr.  King:  he  and 
Gen.  Wolcott  were  intimate  friends,  and  the  latter  may  have  prevailed  upon  the  former  to  yield  it 
to  him.  I  understand  that  it  was  brought  to  the  United  States  during  the  last  century ;  and  Mrs. 
Gibbs  was  under  the  impression  that  it  had  left  the  artist's  studio  before  the  completion  of  the  full- 
sized  statue  in  Richmond." 


Busts,  Statues,  Momtments  and  Medals. 


Houdon  died  in  Paris,  July  15,  1828.  He  was  undoubtedly  the  finest  of  French 
sculptors  ;  and  his  statue  of  Voltaire,  in  the  vestibule  of  the  Theatre  Frangais,  is  a  title- 
deed  to  immortality  in  plastic  portraiture.  The  Houdon  Washington  at  Richmond  has  not 
been  often  engraved.  The  engraving  by  St.  Memin,  which  is  very  rare,  is  among  the 
best.  The  bust  engraved  for  the  American  Bank-note  Company,  which  was  published  in 
Boston  in  1859,  is  beautifully  executed.  Durand,  Storm,  Hall,  and  several  other  artists, 
have  made  plates  after  this  sculptor.  Powers,  Crawford,  Macdonald,  Clark,  Mills,  and 
nearly  every  American  sculptor  of  note,  have  reproduced  Houdon's  Washington. 

There  is  no  discussion  as  to  the  acceptance  of  Houdon's  head  as  the  type  of  Wash- 
ington, and  as  such  it  must  forever  remain.  The  national  seal  was  given  when  it  was 
placed  upon  the  United  States  letter  postage-stamps,  and  from  it  several  of  the  finest 
Washington  medals  have  been  made :  therefore  as  a  standard  this  head  will  ever  be  adopted. 
Stuart,  with  discrimination  and  generosity,  placed  it  before  his  portraits. 

PLASTER  CASTS. 

Houdon  made  the  casts  for  his  works  in  plaster,  using  it  at  Mount  Vernon,  as 
explained  in  Washington's  diary.  Jefferson,  in  a  letter  written  early  in  1800  from  the 
United  States  senate-chamber,  thus  replied  to  an  inquiry  from  Mr.  Parker  as  to  the  best 
means  of  securing  a  plastic  portrait  of  Washington :  "  Unless  Ceracchi's  busts  of  Gen. 
Washington  are  any  of  them  there"  [in  Rome  or  Florence],  "it  would  be  necessary  to 
send  then  for  one  of  Houdon's  figures  in  plaster."  Houdon  left  a  bust  at  Mount  Vernon, 
which  has  been  the  cause  of  much  speculation.  In  the  inventory  made  by  the  sworn 
appraisers  at  Mount  Vernon,  in  1800,  of  the  personal  effects  of  Washington,  are  these 
entries :  — 

"  1  bust  of  General  Washington  in  Plaster  from  the  Life  $100.00 

1  do.  Marble 1   .  50,00 

1  Profile  in  Plaster  25.00." 

This  plaster  bust  was  on  a  bracket  in  the  library,  and  apparently  considered  of  little 
importance.  It  remained  at  Mount  Vernon  over  threescore  years.  In  1849  consent  was 
given  by  G.  W.  P.  Custis  and  Col.  John  A.  Washington,  —  then  proprietor  of  the  home- 
stead, —  to  Clark  Mills  the  sculptor,  to  copy  this  bust,  from  which  to  model  the  Wash- 
ington head  for  the  equestrian  statue  then  commissioned  by  Congress.  Mr.  Mills  left 
a  reproduction  at  Mount  Vernon  in  lieu  of  the  original  Houdon,  which  he  retained 
in  his  possession  a  number  of  years.  When  it  was  known  that  the  Houdon  life- 
cast  was  in  existence,  there  were  various  expressions  of  satisfaction,  one  of  which,  though 

1  The  marble  bust  may  be  in  existence,  but  no  other  record  of  it  is  found.    It  is  not  known  by  whom  executed. 


Original  Portraits  of  Washington. 


coupled  with  sharp  criticisms  on  the  marble  rendering  at  Richmond,  appeared  in  "The 
Washington  Star"  July,  1857:  — 

"  This  bust  was  attained  by  Houdon  as  a  model  for  his  celebrated  Richmond  statue  of  Wash- 
ington. But  now  comes  out  the  most  singular  fact  of  all.  Who  has  not  felt  a  sense  of  dissatisfaction 
at  the  narrow  retreating  forehead  and  the  perked-up  chin  of  the  Houdon  statue?  All  criticism  and 
questioning  being  debarred  by  the  assertion  that  the  head  was  an  exact  copy  from  life.  Such  is  not 
the  fact.  Houdon,  following  the  wretched  taste  of  his  time,  must  needs  alter  his  divine  model,  and 
give  his  Washington  the  features  and  port  of  the  effeminate  and  sensual  royalty  of  that  day ;  viz., 
the  narrow  retreating  forehead,  with  heavy  jowls,  and  thrown-up  chin.  Providentially,  the  original 
head,  from  the  cast,  though  overlooked,  has  been  preserved  intact,  and  is  now  in  the  hands  of  an 
artist  tremblingly  alive  to  its  priceless  value,  as  the  only  true  presentation  of  Washington  in  exist- 
ence. Despite  which,  Lafayette  stood  mute  before  the  Richmond  statue,  and  then,  in  a  voice 
choked  with  emotion,  said,  'That  is  the  man  himself:  I  can  almost  believe  he  is  about  to  move.'" 


In  1873  the  bust  was  presented  by  Clark  Mills  to  Wilson  Macdonald,  sculptor,  of 
New  York,  and  by  him  has  been  given  to  his  daughters.  This  plaster  head  is  most 
exquisitely  modelled,  bearing  the  assurance  of  the  master's  touch.  Its  age  is  testified  by 
its  surface  and  hardness ;  and  no  sculptor  was  ever  at  Mount  Vernon,  save  Houdon,  who 
could  have  made  it.  The  whole  is  in  plaster,  except  the  tip  of  the  queue,  and  that  is 
finished  in  wax  (unmistakably  by  the  same  hand),  probably  on  account  of  a  fracture,  or 
because  (see  Washington's  diary)  the  plaster  had  become  too  brittle  for  use.  A  second 
testimony  establishing  its  genuineness  is  its  near  exactness  to  the  Houdon  statue,  as 
given  by  accurate  measurements  made  by  Mr.  Macdonald,  which  can  also  be  taken  by 
others  skilled  in  the  use  of  the  calipers.  The  truth  in  this  matter  is  very  desirable,  above 
all  personal  ownership  or  consideration,  and  may  be  reached  on  the  theory  that  "  figures 
won't  lie : "  therefore  the  following  communication  is  inserted :  — 

"  These  measurements  were  made  by  the  undersigned.  The  original  life-size  marble  statue  by 
Houdon  in  Richmond,  Va.,  Nov.  27,  1878.  The  clay  bust  at  Mount  Vernon  on  the  18th  of  December, 
1878.    The  life-mask,  Jan.  2,  1879. 


From  the  chin  to  the  top  of  the  head  (centre) 
From  roots  of  hair  to  chin  (in  front)  . 
Width  of  face  at  zygomatic  arch  (against  hair) 
Width  of  face  at  lobes  of  ears 

Width  of  mouth  

From  under  side  of  nose  to  bottom  of  chin  . 
From  bottom  of  nose  to  lower  crease  at  root  of  nose 
Width  from  outer  corner  of  right  eye  to  outer  corner  of  left  eye 
From  top  of  ribbon  on  queue  behind  to  the  middle  of  chin 


STATUE. 

CLAY  BUST. 

LIFE-MASK. 

9l 

9i 

7i 

7l 

7* 

6 

Si 

55 

5l  s- 

Si 

2 

2  s. 

2 

3 

2f 

■2I 

z8 

*i 

Z6 

3f 

3tV 

9h 

9 

9* 

Busts,  Statues,  Monuments,  and  Medals. 


167 


STATUE 

CLAY  BUST. 

LIFE-MASK. 

From  the  end  of  the  nose  to  the  top  of  the  queue  (same  point  as  above)  . 

IO+ 

ioi 

IO 

O 

I* 

2 

8 

V*4 

ft 

y 

y? 

8k 

84- 
4 

From  the  right  corner  of  the  mouth  to  the  edge  of  the  upper  lid  of  the  right  eye, 

li-  S 

*1 
04 

1 

•7  1 

5 

H 

i3i 

7ft 

Si 

5& 

From  bottom  of  nose  to  first  wrinkle  in  forehead  .  . 

3g 

Distance  between  the  pupils  of  the  eyes 

•  4 

■ft 

Distance  from  the  roots  of  hair  to  crease  under  the  chin  ..... 

81 

aft 

Circumference  of  the  head  .... 

28! 

25 

26| 

WILSON  MACDONALD, 
Sculptor,  Booth's  Theatre  Bui !di tigs,  Neiu-York  City. 


The  importance  of  determining  the  authenticity  of  a  work  like  the  cast  in  question 
is  apparent,  and  the  evidence  should  be  nicely  weighed.  The  above  measurements  abun- 
dantly demonstrate  that  the  bust  in  plaster  is  from  the  same  hand  which  made  the  Rich- 
mond statue  ;  for  marble  rendering  is  not  often  truer  to  life  than  these  tables  exhibit. 

The  dilapidated  bust,  claimed  to  be  the  original  Houdon,  left  by  him  at  Mount  Vernon, 
and  which  has  provoked  such  discussion,  is  ridiculously  out  of  proportion,  —  a  discrepancy 
not  to  be  explained  by  the  reason  suggested  ;  i.e.,  the  shrinking  of  the  clay.  That  would, 
indeed,  give  a  smaller  head,  but  would  not  destroy  its  relative  proportions. 

The  history  of  this  bust  is  given  by  Mr.  Mills,  on  the  authority  of  Col.  John  A. 
Washington,  who  told  him  that  a  German  artist  once  came  to  Mount  Vernon  with  a  pro- 
posal to  copy  in  gutta-percha  the  Houdon  cast,  from  which,  without  taking  it  away,  he 
would  make  a  number  of  reproductions.  He  made  two,  when  Col.  Washington,  finding 
it  a  very  expensive  enterprise,  dismissed  him ;  and  the  artist  departed,  leaving  one  of  his 
copies.  This  is  the  broken  one  now  in  the  case  of  relics  at  Mount  Vernon  ;  and  the  fact 
that  it  is  of  gutta-percha,  whitewashed,  explains  its  disproportions.  The  bust,  in  good 
condition,  in  the  glass  case,  is  the  one  left  or  exchanged  by  Mr.  Mills. 

It  should  be  remembered  that  Houdon  was  a  prudent,  unselfish  man,  and  an  enthu- 
siastic admirer  of  Washington.  As  a  sculptor,  he  saw  more  fame  in  coming  to  America 
to  take  moulds  and  casts  of  Washington  from  life  than  in  receiving  the  patronage  of  the 
greatest  empress  of  the  world,  though  she  tauntingly  rebuked  him  for  relinquishing  such 
a  dazzling  fortune,  and  risking  his  life  in  crossing  the  ocean  "to  make  the  statue  of  a 
colonial  rebel."    Therefore  it  is  not  probable  that  he  was  willing,  in  event  of  shipwreck, 


i68 


Original  Portraits  of  Washington. 


to  leave  no  counterpart  of  that  reverend  head  ;  and  the  conclusion  is  irresistible,  that  the 
plaster  cast  now  in  New  York  is  a  legacy  from  the  great  French  sculptor.  Its  lines  of 
grace  and  dignity  would,  in  the  eyes  of  a  connoisseur,  need  little  corroboration ;  and,  as 
a  life-bust  by  Houdon,  it  is  a  relic  of  national  interest. 

When  making  arrangements  for  his  return  voyage,  Houdon  separated  the  moulds  of 
the  head  from  those  of  the  limbs  and  body,  intending  to  take  the  first  himself,  while  he 
committed  the  latter  to  his  assistants.  A  gentleman  who  remarked  upon  it  received  this 
answer:  "  If  they  are  lost,  I  am  determined  to  perish  with  them."  This  incident  strengthens 
the  theory  that  the  provident  French  artist  would  not  be  content  with  one  perishable  rep- 
resentation of  the  features  of  Washington,  especially  as  he  had  the  assurance  of  Mr. 
Jefferson  that  he  should  receive  the  commission  for  the  national  equestrian  statue  of 
Washington.  No  doubt,  however,  has  been  entertained  as  to  a  life-cast  having  been  left 
at  Mount  Vernon. 

The  profile  in  plaster  (mentioned  in  the  inventory  with  the  plaster  bust)  has  been 
inherited  from  his  mother  by  Gen.  G.  W.  Custis  Lee  of  Lexington,  Va.  It  is  the  bas- 
relief  which  Houdon  presented  to  Washington,  and,  until  the  death  of  the  latter,  "  hung 
over  his  chair  in  the  library."  It  is  described,  in  the  "  Recollections  and  Private  Memoirs 
of  Washington,"  by  G.  W.  P.  Custis,  as  "  a  half-bust  by  Houdon,  after  the  manner  of  the 
antique."  The  present  owner  says,  "It  is  full-size,  —  the  head  and  part  of  the  neck, — 
and  is  in  an  oval  gilt  frame,  dingy  from  age.  The  plaster  is  also  somewhat  discolored 
from  some  cause,  but  in  all  other  respects  is  in  good  condition."  This  is  invaluable  as 
data  for  medals ;  and  the  people  of  America  may  be  congratulated  upon  possessing  two 
originals  from  Houdon,  each  proving  the  other. 

Several  masks  are  scattered  through  the  country,  claiming  to  be  original ;  but  they 
were  taken  by  Deville  in  London,  either  from  a  life-cast  or  a  Houdon  bust.  Two  in 
Philadelphia  are  absurdly  labelled  as  "  modelled  after  death."  A  life-mask,  whose  history 
is  well  authenticated,  is  the  property  of  W.  W.  Story,  the  eminent  American  sculptor,  now 
in  Rome.  First  in  the  chain  of  evidence  is  a  memorandum  in  possession  of  George  H. 
Moore,  superintendent  of  the  Lenox  Library,  New  York. 

The  original  cast  made  by  Houdon  from  the  face  of  Washington,  to  assist  him  in  modelling 
his  well-known  bust,  was  in  1866,  and  I  presume  is  at  present,  in  possession  of  Mr.  Pettrick,  sculptor, 
at  Rome,  who  values  it  chiefly,  I  think,  on  account  of  the  advantage  it  gives  him  over  the  other 
sculptors  there  in  reproductions  of  the  subject.  It  was  bought  in  Paris,  at  the  sale  of  Houdon's 
effects,  by  an  acquaintance  of  Mr.  Pettrick,  and  presented  to  him.  I  have  often  examined  the  cast 
critically,  and  am  satisfied  of  the  genuineness  of  it.  Among  other  evidence  is  the  presence  of  some 
of  the  hairs  of  the  eyebrows  and  lashes,  pulled  out  in  taking  the  cast  off  the  face,  and  yet  remaining 
in  the  plaster. 

H.   K.  BROWN. 

Due.  13,  1876. 


» 


Busts,  Statues,  Monuments,  and  Medals. 


169 


Even  more  unanswerable  and  conclusive  proofs  are  in  the  following  extracts  from  a 
letter  received  by  a  gentleman  in  Washington  from  Mr.  Story,  written  in  Rome,  June  13, 
1879:  — 

"  After  Houdon  had  made  all  the  use  of  it  he  desired,  he  either  presented  or  sold  it  to  Mr. 
Walsh,  who  was  then  in  Paris ;  and  Mr.  Walsh,  on  his  return  to  America,  carried  it  with  him  to 
Philadelphia.  Shortly  before  his  death,  he  parted  with  it  to  a  certain  John  Struthers,  a  stone-cutter, 
who  presented  it  afterwards  to  Ferdinand  Pettrick,  a  sculptor  who  lived  many  years  in  America,  and 
was  then  engaged  on  a  model  for  a  statue  of  Washington.  When  Mr.  Pettrick  left  America,  he 
carried  with  him  this  mask,  which  to  the  day  of  his  death  he  preserved  with  the  greatest  care,  and 
which  it  was  his  great  pride  to  exhibit  to  visitors  to  his  studio.  He  afterwards  came  to  Rome, 
where  he  lived  many  years  ;  and  often  he  has  shown  me  this  mask,  and  recounted  to  me  its  history 
and  the  great  value  he  set  upon  it.  Many  an  American,  and  I  myself  among  the  number,  vainly 
sought  to  buy  it.  He  constantly  refused,  though  I  know  he  was  offered  large  prices  for  it.  ... " 
On  his  death-bed  he  ordered  his  wife  to  bring  the  mask  to  me,  and  offer  it  to  me  for  sale,  saying 
he  wished  that  I  should  possess  it.  ...  I  was  then  absent  from  Rome,  and  his  widow  and  children 
went  to  live  at  Palestrina.  On  my  return,  the  mask  was  brought  to  me,  and  it  has  been  ever 
since  in  my  possession.  ...  It  has  never  been  moulded.  I  myself  well  remember  —  for  Mr.  Pet- 
trick took  great  pride  in  showing  them  —  the  hairs  of  Washington,  which  still  adhered  to  the  mask, 
having  been  pulled  out  in  the  casting.  As  a  great  favor  to  specially  distinguished  personages, 
he  now  and  then  would  extract  one  from  the  plaster,  and  present  it  as  a  valuable  gift.  In  this 
manner  most  of  them  disappeared,  though  their  imprint  in  the  plaster  confirms  their  original  exist- 
ence. A  few,  however,  still  remain,  to  authenticate  beyond  all  question  the  originality  of  the  mask. 
That  it  has  never  been  moulded  is  plain  from  its  appearance  :  no  oil  or  soap  has  ever  touched  it. 
It  is  still  fresh  and  in  perfect  condition,  and  there  is  not  the  slightest  indication  that  any  attempt 
to  mould  it  has  ever  been  made.  Had  it  ever  been  moulded,  these  indications  of  the  fact  could  not 
be  concealed.  Mr.  Pettrick  kept  it  with  the  most  jealous  care,  and  would  scarcely  allow  any  one 
to  touch  it.  It  was  preserved  in  a  box  lined  with  wadding,  under  lock  and  key,  and  is  still  in  the 
same  box.  I  have  a  certificate  of  the  facts  of  the  possessors,  into  whose  hands  it  passed,  under  Mr. 
Pettrick's  own  hand,  made  and  signed  by  him  in  1839.  .  .  .  In  respect  to  its  value  as  a  likeness  of 
Washington,  I  think  no  one  could  see  it  without  agreeing  that  it  is  far  the  noblest  presentation  of 
him  that  exists.  There  is  more  character,  strength,  and  individuality  than  is  to  be  found  in  any 
of  the  portraits  in  painting  or  sculpture  that  we  possess.  It  gives  us  a  higher  idea  of  the  man,  and, 
for  a  mask  from  life,  is  exceptionally  fine  in  expression.  Houdon  copied  it  with  great  care ;  but 
he  failed  to  give  it  strength  of  character.  The  mouth  of  the  bust,  in  especial,  is  weak  as  compared 
with  that  of  the  mask ;  and  altogether  it  is  a  weaker  face  in  the  bust.  Stuart's  portraits  are  more 
flabby  and  less  firm  in  texture  than  the  mask ;  and,  in  fine,  there  is  nothing  I  ever  have  seen  which 
gives  me  so  strong  a  notion  of  the  man  himself  in  his  prime." 

These  works  in  plaster  —  bust,  bas-relief,  and  mask  —  are  indeed  invaluable,  rivalling 
the  original  statue  in  Richmond,  inasmuch  as  that  is  marble :  they  are  life. 


GIUSEPPE  CERACCHI. 


ITALY, 
i 760-1801. 

HE  name  of  this  artist  is  associated  with  one  of  the  tragic  incidents  of  the 
French  Revolution,  and  linked  in  fame  with  that  of  Canova,  the  greatest 
sculptor  of  modern  Italy;  Ceracchi  having  been  employed  by  Pope  Pius  VI. 
to  assist  that  artist  in  designing  sculptural  works  for  the  Vatican.  He  was  an 
ardent  republican,  and  came  to  America  in  1 79 1  for  the  purpose  of  securing  the  order  for 
the  monument,  proposed  by  Congress  in  1781,  to  commemorate  the  independence  of  the 
United  States.  It  appears  he  was  a  man  of  great  personal  magnetism  ;  for  he  soon  won 
the  favor  of  the  most  eminent  men  of  the  country,  even  Washington  being  practically 
interested  in  him  and  his  proposals,  writing  for  him  a  circular  letter,  and  putting  his  name 
at  the  head  of  a  subscription  for  a  monument  to  "  Liberty."  It  was  to  be  one  hundred  feet 
high,  of  finest  marble,  and  to  cost  thirty  thousand  dollars.  The  letter  and  descriptive  paper 
is  given  entire  by  Dunlap,  in  the  first  volume  of  his  "  History  of  the  Arts  of  Design." 

Ceracchi  secured  the  likenesses  of  many  of  the  distinguished  actors  in  the  Revolution 
as  a  basis  for  his  monument;  and  during  the  years  1794  and  1795  he  executed  in  marble 
portraits  of  Jefferson,  Jay,  Clinton,  and  others,  the  models  for  which  he  afterwards  took 
with  him  to  Europe.  Congress  ordered  from  him  a  colossal  bust  of  Washington,  for 
which  four  thousand  dollars  were  paid.  It  was  destroyed  in  the  burning  of  the  Library 
of  Congress,  in  185 1 .  Washington  made  no  note  of  the  date  of  these  sittings;  but  there 
is  not  a  doubt  but  the  bust  was  from  life,  as  it  was  executed  about  1793. 

He  made  three  busts  of  Washington.  The  first  was  the  one  purchased  by  Congress ; 
the  second  became  the  property  of  the  Spanish  ambassador,  which  he  sent  as  a  gift  to 
the  "  Prince  of  Peace,"  Godoy,  who  was  exiled  before  the  marble  reached  Cadiz.  This 
work  was  never  unpacked  in  Spain,  but  was  presented  to  Richard  Meade,  then  United- 
States  minister  at  Madrid,  who  brought  it  to  this  country.  After  Mr.  Meade's  death,  it 
was  purchased  by  Gouverneur  Kemble  of  Cold  Spring,  N.Y. ;  and  it  is  at  present  deposited 
at  the  Corcoran  Gallery  of  Art,  Washington,  D.C.    It  has  been  exquisitely  engraved  for 

a  bond-note  embellishment,  but  is  more  familiar  through  Hall's  print. 

170 


Busts,  Statues,  Monuments,  and  Medals.  171 

Mr.  Jefferson  had  a  very  exalted  idea  of  this  sculptor's  genius,  and  became  anxious 
that  he  should  be  commissioned  by  Congress  to  make  the  statue  of  Washington.  In  a 
letter  to  Ceracchi  at  Munich,  written  from  Philadelphia,  Nov.  14,  1793,  it  seems  that  Jeffer- 
son was  so  fascinated  as  to  give  him  the  preference,  even  over  Houdon  ;  for  he  says,  — 

'•'The  assurances  you  received  that  the  monument  of  the  President  would  be  ordered  at  the 
new  election  were  founded  in  the  expectation  that  he  meant  to  retire.  The  turbid  affairs  of  Europe, 
however,  and  the  intercessions  they  produced,  prevailed  on  him  to  act  again,  though  with  infinite 
reluctance.  You  are  sensible  that  the  moment  of  his  retirement,  kindling  the  enthusiasm  for  his 
character,  the  affection  for  his  person,  the  recollection  of  his  services,  would  be  that  in  which  such 
a  tribute  would  naturally  be  resolved  on.  This  is  now  put  off  to  the  end  of  the  next  bissextile  ; 
but,  whenever  it  arrives,  your  title  to  the  execution  is  engraved  in  the  minds  of  those  who  saw  your 
works  here." 

The  third  bust  was  retained  by  the  artist.  It  is  of  colossal  proportions  ;  and  Ceracchi 
doubtless  intended  it  as  the  model  for  the  Washington  which  should  be  conspicuous  in 
his  monument  to  Liberty.  This  marble  is  closely  connected  with  the  fate  of  the  artist. 
Through  it  he  was  finally  tempted  to  a  crime  which  led  to  his  death.  He  took  it 
to  London,  through  the  Italian  states,  and  then  exhibited  it  in  Paris,  where  the  work 
was  so  greatly  approved,  that'  the  First  Consul  was  induced  to  give  a  commission  for  his 
own  bust.1  This  afforded  opportunity  to  the  sculptor  to  obtain,  for  himself  and  two 
fanatical  artist-friends,  free  access  to  the  presence  of  Napoleon ;  and,  but  for  timely 
discovery,  they  would  have  assassinated  him  with  the  famous  "  infernal  machine,"  the 
invention  of  which  was  accredited  to  the  Italian  Ceracchi.  He  gave  not  the  least  evidence 
of  contrition  for  his  guilt,  but  rode  to  execution  in  a  triumphal  car,  arrayed  in  a  flowing 
toga,  and  upon  his  brow  the  wreath  of  a  victor.  After  his  death  the  bust  of  Washington 
fell  into  the  hands  of  his  devoted  friend,  Canova,  who  modelled  from  it  his  statue  of 
Washington  for  the  State  of  North  Carolina.  In  1820  Mr.  John  Izard  Middleton  of  South 
Carolina,  a  gentleman  of  aesthetic  taste  and  culture,  purchased  the  colossal  bust  in  Rome, 
and  sent  it  to  this  country.  It  is  now  in  the  possession  of  his  nephew,  Mr.  Williams 
Middleton  of  Middleton  Place,  the  old  seat  of  this  distinguished  family.  It  is  in  a  perfect 
state  of  preservation,  having  escaped  all  injury  during  the  Rebellion.  Mr.  Middleton  says, 
"  I  buried  it  in  1864,  and  twelve  months  after  dug  it  up  uninjured,  having  taken  the 
precaution  to  have  a  strong  box  made  for  it."  But  two  engravings  have  been  made  of 
Ceracchi's  Washington,  —  the  first  in  1835,  by  G.  F.  E.  Prud'homme  ;  and  the  second,  by 
H.  B.  Hall,  for  Irving's  "  Life  of  Washington."  Tuckerman,  with  fine  discrimination,  calls 
Ceracchi's  portrait  of  Washington  "  noble T  The  face  is  strong  and  pure  ;  the  eye  direct 
and  unflinching;  the  lines  of  the  mouth  decisive,  lifelike,  and  full  of  character. 

1  A  bust  of  Napoleon  by  Ceracchi  is  now  owned  by  Mr.  Thomas  Jefferson  Coolidge. 


WILLIAM  RUSH. 


PENNSYLVANIA. 

T  the  Centennial  Exhibition  in  Philadelphia,  there  was  in  the  Art  Gallery  a 
model  labelled  "Bust  of  Washington  (clay,  made  from  life).  By  Rush."  It 
is  owned  by  Mr.  Alfred  Young  of  Philadelphia. 

William  Rush  was  a  "cunning  worker"  in  wood;  and,  though  not  many 
of  his  efforts  survive,  they  are  so  graceful  and  refined,  it  is  regretted  that  there  are  not 
more  of  them.  One  of  them  was  copied  in  marble,  by  Beck,  for  Mr.  Ferdinand  J.  Dreer 
of  Philadelphia ;  and  it  is  exceptionally  beautiful.  Rush  also  carved  a  statue  in  wood,  of 
life-size,  in  1 8 14,  from  studies  taken  years  before,  which  is  now  in  Independence  Hall. 
This  a  very  admirable  work,  and  was  intended  by  the  artist  as  the  figure-head  of  a  ship 
to  be  called  "  Washington  ; "  but  when  completed  the  city,  of  Philadelphia  purchased  it. 
The  drapery  —  a  military  cloak  —  is  very  artistic.  The  head  is  bare ;  and  in  his  hands 
he  holds  a  scroll. 


STATUES. 


ANTONIO  CANOVA. 

ITALY. 

1757-1822. 

ANOVA  received  in  18 14  a  commission  from  Gov.  William  Miller,  for  the 
State  of  North  Carolina,  for  a  statue  of  Washington,  to  be  of  Carrara  marble. 
It  was  a  sitting  statue,  executed  in  Italy  at  a  cost  of  twenty-five  thousand 
dollars.  One  writer  says  of  this  statue,  that  "it  is  especially  interesting  as 
the  first  work  of  sculpture  executed  in  the  Old,  and  publicly  commissioned  in  the  New 
Wrorld." 

Upon  its  arrival  in  1824,  this  statue  was  transported  with  triumphal  honors  from 
Wilmington  to  Raleigh,  drawn  by  a  team  of  twenty-four  mules,  and  was  placed  with 
appropriate  ceremony  in  the  State  House.  June  12,  183 1 ,  the  building  was  burned,  and 
the  statue  unhappily  destroyed.  Montfort  Stokes,  then  governor  of  the  State,  engaged 
an  English  sculptor  to  restore  the  charred  statue.  He  received  a  payment  of  twenty-five 
hundred  dollars,  and  left  the  .State  without  fulfilling  his  commission. 

Canova's  statue  was  strictly  of  the  Italian  school,  representing  Washington  as  a  law- 
giver, in  senatorial  toga,  holding  in  his  hand  a  stone  tablet  upon  which  he  has  begun  to 
inscribe  laws,  and  with  his  sword  under  his  feet.  He  has  given  to  the  past  the  chieftain, 
and  is  now  the  statesman.  The  portrait  was  after  the  life-study  of  his  companion  in 
art,  Giuseppe  Ceracchi.    Upon  the  pedestal  was  this  inscription:  — 

Giorgio  Washington. 

Alia  Grande  Nazione  degli  Stati 

Uniti  di  America. 

ANTONIO  CANOVA. 

There  is  a  fine  folio  engraving  by  Bertini,  and  a  quarto  by  Marchetti ;  so  that  the 
Italian  sculptor's  conception  of  the  great  American  is  not  utterly  lost.  An  old  folio 
engraving  hangs  in  the  Pennsylvania  Room  at  Mount  Vernon. 

j  73 


SIR  FRANCIS  CHANTREY. 


ENGLAND. 
1782-1844. 

N  a  vaulted  recess  built  for  its  reception,  in  the  main  hall  of  the  State  House 
at  Boston,  stands  Chantrey's  noble  statue,  which  was  executed,  upon  an  order 
given  by  the  "  Washington  Monument  Association  "  of  that  city,  at  a  cost  of 
fifteen  thousand  dollars. 
The  figure  is  seven  feet  in  height,  of  spotless  Carrara  marble.    The  head  and  face 
are  finely  modelled.    The  right  hand  holds  a  scroll,  and   the   left   supports  the  graceful 
folds  of  an  ample  cloak. 

The  statue  was  uncovered  in  October,  1827.  The  face  is  after  Stuart's  head.  The 
work  is  of  distinguished  grace  and  majesty,  and  the  citizens  regard  it  with  just  pride. 

In  the  pavement  before  the  statue  are  inserted  facsimiles  of  memorial  stones  to  the 
ancestors  of  Washington  from  the  parish  church  at  Brington,  near  Althorp,  Northampton- 
shire, Eng.  They  were  presented  by  Earl  Spencer  to  Charles  Sumner,  and  by  him  to 
the  Commonwealth,  Feb.  22,  1861. 

This  statue  is  familiar  through  Thomson's  engraving  and  various  woodcuts. 


HORATIO  GREENOUGH. 


MASSACHUSETTS. 
1805-1852. 

PPOSITE  and  facing  the  east  central  portico  of  the  Capitol  at  Washington  is 
Greenough's  statue.  It  was  ordered  in  1832,  upon  the  centennial  anniver- 
sary of  the  birth  of  Washington;  completed  in  1840.  The  cost  amounted  to 
forty-five  thousand  dollars,  the  sculptor  receiving  thirty-four  thousand.  This 
colossal  statue  was  intended  to  be  placed  in  the  rotunda,  over  and  marking  the  spot  pre- 
pared for  the  remains  of  Washington,  —  a  vaulted  chamber  in  the  crypt,  to  which  place 
Congress,  in  1832,  made  a  second  effort  to  have  them  removed. 

The  statue  is  of  Cararra  marble  ;  and  on  the  sides  of  the  square  pedestal  is  inscribed 
the  terse  immortal  eulogy  of  Richard  Henry  Lee:  "First  in  Avar,  fust  in  peace,  and  first 
in  the  hearts  of  his  countrymen."  The  figure  of  Washington  is  seated  in  a  chair,  his 
body  almost  nude  to  the  waist.  From  his  right  arm  the  ample  folds  of  a  toga  fall  to  his 
sandalled  feet.  In  his  left  hand  is  a  sheathed  sword  ;  with  his  right  he  points  heavenward. 
The  chair  is  carved  in  basso-relievo,  with  acanthus-leaves,  lions'  heads,  and  symbolic  figures 
of  both  classic  and  modern  significance.  A  small  figure  of  Columbus  and  one  of  an  Indian 
chief  rest  against  its  back.  On  one  side  is  Apollo  driving  the  chariot  of  the  sun,  which  is 
presented  as  the  crest  of  the  arms  of  the  United  States.  On  the  other  side  is  the  infant 
Hercules  strangling  the  serpent ;  his  twin-brother,  timid  and  shrinking,  lies  on  the  ground  : 
by  these  figures  the  sculptor  indicated  the  genii  of  North  and  South  America. 

The  statue  was  transferred  from  the  rotunda  to  the  Capitol  grounds,  despite  the  protest 
of  the  artist,  who  said,  "  I  modelled  the  figure  without  reference  to  an  exposure  to  rain 
and  frost ;  so  that  there  are  many  parts  of  the  statue  where  the  water  would  collect,  and 
soon  disintegrate  and  rot  the  stone,  if  it  did  not,  by  freezing,  split  off  large  fragments  of 
the  drapery.".  On  the  back  of  the  chair  is  the  Latin  inscription  :  "  Simulacrum  istud  ad 
magnum  Libertatis  exemplum,  nec  sine  ipsa  duraturum.    Horatius  Greenough.  Faciebat." 

This  production  has  been  the  subject  of  the  highest  encomium  from  art-lovers,  as  well 
as  the  most  severely  pungent  jests  from  witty  critics  ;  but  time  will  doubtless  decide  its 
right  place  in  the  art  world. 

»75 


THOMAS  CRAWFORD. 


NEW  YCRK. 
1813-1857. 

IS  early  as  Feb.  12,  18 16,  the  Virginia  House  of  Delegates  adopted  a  resolu- 
tion for  the  removal  of  the  remains  of  Washington  to  Richmond,  for  inter- 
ment "beneath  a  monument  to  be  erected  at  public  expense,  and  to  serve  as 
a  memorial  to  future  ages  of  the  love  of  a  grateful  people."  Not  obtaining 
consent,  there  was  no  further  movement  in  the  matter  until  1849,  when  it  was  resolved 
to  offer  five  hundred  dollars  for  the  best  design  or  drawing' for  a  monument.  Of  the  forty- 
one  designs  submitted,  that  of  Thomas  Crawford  was  selected,  which  was  to  be  executed 
in  bronze,  and  consisted  of  a  group  of  heroes  and  allegorical  figures,  Washington  being 
the  central  one. 

The  grasp  of  this  work  of  art  includes  a  large  proportion  of  the  sentiment  and  history 
of  the  Revolutionary  War,  —  from  Lexington  to  Yorktown,  —  a  story  which  is  thrice  told  by 
heroic  names,  great  events,  and  symbolic  groups.  The  heroes  selected  were  those  whom 
it  is  the  delight  and  duty  of  "  the  Old  Dominion  "  to  honor,  as  is  done  by  their  association 
with  her  greatest  son  in  this  monument.  They  are  Thomas  Jefferson,  John  Marshall, 
Patrick  Henry,  George  Mason,  Thomas  Nelson,  and  Andrew  Lewis;  and  their  peculiar 
services  are  represented  by  the  allegorical  figures  of  "  Independence,"  "  Justice,"  "  Revolu- 
tion," "  Bill  of  Rights,"  "  Finance,"  and  "  Colonial  Times." 

The  spot  selected  was  in  the  Capitol  grounds  ;  and  the  ceremony  of  laying  the  corner- 
stone took  place  Feb.  22,  1850.  Zachary  Taylor,  then  President  of  the  United  States, 
and  a  large  assemblage  of  distinguished  people,  were  in  attendance.  The  equestrian  group 
arrived  in  November,  1857,  ar,d  was  conveyed  to  the  Capitol  square  by  enthusiastic  citizens, 
only  a  month  before  the  gifted  sculptor  died  in  London.  Crawford  finished  all  the  models 
save  those  of  Lewis,  Nelson,  and  the  Trophies,  which  were  completed  by  his  brother-artist, 
Randolph  Rogers.  The  total  cost  of  the  monument  was  two  hundred  and  fifty-nine  thou- 
sand nine  hundred  dollars  ;    and  it  was  unveiled  with  imposing  ceremonies  Feb.  22,  1858. 

A  pleasing  incident  connected  with  the  casting  of  the  statue  of  Washington  is  thus 

related  by  Tuckerman,  as  he  received  it  from  the  artist:  — 

176 


Busts,  Statues,  Monuments,  and  Medals.  177 

"  On  the  evening  of  his  arrival  at  Munich,  Crawford  went  for  the  first  time  to  see  his  Wash- 
ington in  bronze.  He  was  surprised  at  the  dusky  precincts  of  the  vast  arena.  Suddenly  torches 
flashed  illumination  on  the  magnificent  horse  and  rider,  and  simultaneously  burst  forth  from  a  hundred 
voices  a  song  of  triumph  and  jubilee.  Thus  the  delighted  Germans  congratulated  their  gifted  brother, 
and  hailed  the  sublime  work,  to  them  typical  at  once  of  American  freedom,  patriotism,  and  genius." 

This  gratifying  demonstration  was  truly  after  the  manner  of  the  Germans,  into  whose 
daily  lives  enters  finer  sentiment  than  is  often  found  among  more  frivolous  nationalities. 

As  is  most  appropriate,  the  State  which  claims  Washington  by  right  of  birth  has  given 
more  evidence  of  her  appreciation  of  his  virtues  than  any  other,  or  indeed,  thus  far,  than 
the  nation.  The  memorial  at  Richmond  —  so  replete  in  truth,  grace,  and  sentiment  —  would 
do  credit  to  people  centuries  older  in  art.  The  history  it  records,  the  principles  it  honors, 
and  the  gratitude  it  expresses,  present  lessons,  which,  if  heeded,  must  foster  true  national 
strength. 

This  monument  has  been  well  engraved  by  George  E.  Hall. 


HENRY  KIRKE  BROWN. 


MASSACHUSETTS. 
1814- 

HE  first  equestrian  statue  of  Washington  was  placed  in  Union  .Square,  New- 
York  City,  July  4,  1856,  for  which  Henry  Kirke  Brown  received  the  contract 
in  1852.  The  sum  of  thirty-one  thousand  three  hundred  and  thirty-one 
dollars  was  collected  from  leading  New- York  merchants,  through  the  energy 
and  patriotism  of  Col.  James  Lee.  There  was  a  liberal  response  generally,  but  the  colonel 
occasionally  met  with  a  rebuff  in  his  mission.  He  once  made  application  to  a  flourishing 
business-man,  who  replied  in  a  lofty  manner,  "  I  will  give  nothing,  sir ;  for  Washington 
lives  in  my  heart."  —  "Well,"  promptly  rejoined  Lee,  "I  must  say,  the  Father  of  his 
Country  has  a  very  poor  home." 

The  statue  occupies,  as  nearly  as  could  be  determined,  the  spot  upon  which  Wash- 
ington stood  when  he  was  formally  received  by  the  citizens  of  New  York,  Nov.  25,  1783, 
on  the  evacuation  of  the  city  by  the  British.  The  work  has  been  highly  approved  ;  and, 
though  carefully  criticised,  it  is  conceded  to  be  both  true  and  effective.  The  description 
found  in  "The  Crayon,"  July,  1856,  after  the  unveiling,  is  chosen  as  being  just  and 
historic  :  — 

"  The  statue  represents  Washington  on  horseback  ;  not  in  the  heat  of  battle,  when  the  dignity 
of  manhood  is  to  a  certain  extent  lost  in  the  excitement  of  conflict,  but  at  the  close  of  it,  in  the  act 
of  recalling  his  successful  troops  to  moderation  and  repose.  ■  He  sits  bareheaded,  his  hat  resting  upon 
his  bridle-arm,  which  restrains  his  horse's  ardor,  his  sword  sheathed,  and  his  right  arm  and  hand 
extended  in  the  attitude  of  restraining  or  commanding  quiet.  His  head  is  slightly  thrown  back  ;  and 
the  position  of  the  whole  figure  is  one  of  easy  dignity,  without  the  slightest  show  of  self-importance. 
The  costume  is  the  old  Continental  uniform,  treated  with  entire  simplicity,  and  great  attention  to 
realization,  without  presenting  any  points  which  would  interfere  with  the  general  impression.  The 
likeness  is  a  copy  from  Houdon's  bust,  which  was  taken  from  life,  and  is  considered  most  correct. 
The  bust  is  now  in  the  possession  of  ex-Gov.  Fish.  The  uniform  is  a  copy  of  that  which  was  worn 
by  Washington  and  which  is  still  preserved  at  the  Capitol.  Unlike  most  other  statues,  the  model 
of  this  was  formed  in  plaster,  instead  of  clay ;  and  much  time  and  expense  were  saved  by  the  process. 
When  clay  is  used,  it  is  necessary  to  keep  the  model  constantly  moist  by  sprinkling  with  water  until 
»78 


Henry  Kirke  Brown. 


179 


it  is  finished  ;  while  the  plaster  hardens  at  once,  and  can  be  easily  cut  or  scraped  into  the  required 
shape.  The  height  of  the  statue  is  fourteen  feet.  It  is  of  a  superior  quality  of  bronze,  and  weighs 
about  eight  thousand  pounds.  The  body  of  the  horse  —  not  including  the  tail  or  legs,  which  were 
cast  separately  —  is  the  largest  casting  in  bronze  ever  made  in  this  country,  and  weighs  thirty-five 
hundred  pounds.  All  the  castings  were  made  at  the  works  of  the  Ames  Manufacturing  Company,  at 
Chicopee,  Mass.  ;  and  the  chasing,  filing,  etc.,  were  completed  at  Mr.  Brown's  studio  in  Brooklyn, 
under  his  own  superintendence.  The  pedestal  is  of  Quincy  granite,  fourteen  feet  and  a  half  high, 
and  was  designed  by  Upjohn  &  Co." 

A  lifelike  statue  of  Lafayette,  recently  placed  near  the  Washington,  is  the  work  of  the 
enthusiastic  French  artist,  Bartholdi,  whose  gigantic  statue  of  Liberty,  which  was  gracefully 
presented  by  France  to  America,  July  4,  1876,  is  to  be  significantly  placed  at  the  entrance 
of  New- York  harbor. 

An  engraving,  by  George  R.  Hall,  of  this  equestrian  statue,  appeared  in  a  monologue 
published  by  Col.  James  Lee,  1864,  which  contained  a  description  of  the  statue  and  a  list 
of  the  names  of  subscribers. 


EDWARD  SHEFFIELD  BARTHOLOMEW. 


CONNECTICUT. 
1822-1858. 

PON  the  order  of  Noah  Walker  of  Baltimore,  Mr.  Bartholomew  executed  a 
statue  of  Washington  at  Rome  in  1857.  This  beautiful  statue  of  white 
marble  has  for  a  long  time  adorned  the  front  of  the  store  of  the  well-known 
merchant.  The  sculptor's  native  State  wished  to  buy  the  statue ;  but  Mr. 
Walker  refused  to  sell,  intending  to  donate  it  to  Druid  Hill  Park.  Its  removal  to  that 
locality  was  delayed  by  the  civil  war ;  but,  as  soon  as  a  suitable  foundation  is  prepared,  it 
will  be  placed  there. 

Mr.  Bartholomew  died  of  malignant  fever  soon  after  he  shipped  the  statue  to  this 
country,  and  was  much  lamented  as  a  young  artist  in  the  full  promise  of  his  genius. 

The  expression  of  feature  and  the  entire  pose  of  the  figure  in  his  statue  of  Washing- 
ton are  admirable ;  while  in  drapery  and  detail  it  is  worthy  of  the  hand  that  executed 
"The  Repentant  Eve." 

A  very  interesting  collection  of  this  artist's  works  is  in  a  hall  of  the  "  Wadsworth 
Gallery,"  at  Hartford,  Conn.    Among  them  is  the  plaster  model  of  his  Washington. 


Plate  XXVI II 


Sir  Francis  Chantry 

See  page  174. 


[ohn  Q.  A.  Ward 

See  page  189. 


CLARK  MILLS. 


NEW  YORK. 
1815- 

N  the  thirty-second  Congress,  1852-53,  seventy  years  after  the  passage  of 
a  resolution  ordering  "  a  bronze  military  equestrian  statue  of  Washington," 
Mr.  Dean  of  New  York  introduced  a  bill  to  carry  into  effect  that  resolution. 
The  committee  in  1783  had  made  a  minute  report,  deciding  "  that  the  statue 
be  of  bronze  ;  the  general  to  be  represented  in  a  Roman  dress,  holding  a  truncheon  in 
his  hand,  and  his  head  encircled  with  a  wreath."  The  basso-relievos  of  the  pedestal  were 
determined,  also  the  inscription;  and  it  was  further  resolved,  "The  plan  be  executed  by 
the  best  artist  in  Europe,  under  the  supervision  of  the  minister  of  the  United  States  at 
Versailles."  Upon  the  proposal  of  Mr.  Dean  to  carry  this  resolution  of  the  last  century 
into  effect  in  detail,  a  spirited  discussion  ensued,  in  which  its  salient  want  of  harmony 
with  the  character  of  Washington  and  the  truth  were  warmly  portrayed.  In  regard  to  the 
dress,  Mr.  Breckenridge  of  Kentucky  said,  "The  American  people  never  will  consent  to 
have  another  statue  of  Gen.  Washington  erected  in  the  Roman  costume,  or  in  any  other 
than  the  Continental."    A  bill  was  finally  passed  as  follows  :  — 

"  Be  it  enacted  that  the  sum  of  fifty  thousand  dollars  is  hereby  appropriated  to  enable  the 
President  of  the  United  States  to  employ  Clark  Mills  to  erect  at  the  city  of  Washington  a  colossal 
equestrian  statue  of  Gen.  Washington,  at  such  place  in  said  city  as  shall  be  designated  by  the 
President  of  the  United  States." 

The  inauguration  of  this  statue  took  place  on  the  2 2d  of  February,  i860,  in  the  pres- 
ence of  a  large  concourse  of  citizens  of  this  country,  and  the  representatives  of  foreign 
nations,  when  an  eloquent  oration  was  delivered  by  the  Hon.  Thomas  S.  Bocock  of  Vir- 
ginia. President  James  Buchanan  selected  the  site,  at  the  intersection  of  Pennsylvania  and 
New  Hampshire  Avenues,  now  called  "  Washington  Circle."  Mr.  Buchanan  made  the 
address  of  dedication,  one  clause  of  which,  commended  by  its  fraternal  sentiment,  is  here 
introduced  :  — 

"  Standing  here  upon  this  elevated  and  commanding  position,  surrounded  by  the  senators  and 
representatives  of  the  different  States  of  the  Confederacy,  and  by  this  vast  assemblage  of  my  fellow- 

1S1 


1 82  Original  Portraits  of  Washington. 

citizens,  civil  and  military,  in  full  view  of  the  noble  Potomac,  so  well  beloved  by  Washington,  and 
of  the  shores  of  the  ancient  Commonwealth  which  gave  him  birth,  I  now  solemnly  dedicate  this 
statue  to  the  Father  of  his  Country,  in  perpetual  memory  of  his  talents,  his  sacrifices,  his  heroic 
efforts,  and  his  Christian  character.  I  perform  this  act  of  pious  duty,  not  in  the  name  of  those 
who  dwell  on  the  waters  of  the  Atlantic,  or  those  of  the  far  Pacific,  but  in  the  name  of  the  whole 
American  people,  united,  one  and  indivisible,  now  and  forever." 

At  the  conclusion  of  this  address  the  statue  was  unveiled ;  and  the  artist,  being  enthu- 
siastically called  upon,  responded  in  a  few  sentences  explanatory  of  his  work,  that  should 
be  remembered.  He  said  that  the  statue  was  intended  to  have  been  placed  at  an  elevation 
of  thirty  feet,  and  the  pedestal  as  designed  by  him  was  to  carry  out  the  original  resolution 
of  1783;  viz.,  to  present  the  four  great  events  in  the  military  career  of  Washington;  and 
that  three  stories,  including  the  lower  and  middle  portion  of  the  pedestal,  were  to  give 
an  epitome  of  American  history  from  the  discovery  to  the  Revolution.  Being  hurried  in 
the  execution  of  his  work,  and  the  appropriation  not  covering  this  expense,  he  was  com- 
pelled to  present  it  in  an  incomplete  condition. 

This  work  is  spirited,  the  position  of  the  horse,  and  pose  of  the  figure  especially 
approved.  The  features  are  reproduced  from  the  life-cast  by  Houdon,  then  in  possession  of 
the  sculptor.  The  incident  selected  for  perpetuation  in  this  military  statue  occurred  at  the 
battle  of  Princeton,  when  Washington,  after  ineffectual  efforts  to  rally  his  troops,  advanced 
so  near  the  enemy,  that  his  horse,  refusing  to  move,  stood  trembling  with  terror,  while 
the  cannon  tore  the  ground  on  either  side. 

Mr.  Mills  also  executed  several  busts  in  bronze  of  Washington.  One  is  in  the  Corcoran 
Gallery  of  Art,  and  bears  the  following  inscription  :  — 

"George  Washington. 

"This  Bust  is  from  the  living  face  of  Washington.  Monsieur  Houdon.  1785.  Permission  was  granted  to 
Clark  Mills  in  1849,  by  Colonel  Washington  at  Mount  Vernon,  to  make  a  coppy  (sic)  of  the  original  cast  in 
bronze.  CLARK   MILLS,  Sculptor. 

Another  of  these  busts  was  slightly  injured  in  the  fire  at  the  Capitol  in  1851  ;  which 
the  sculptor  presented  to  Miss  Dorothea  Dix,  by  whom  it  was  placed  in  the  Boston 
Athenaeum.  An  outline  engraving  of  this  statue,  with  the  pedestal  as  originally  designed, 
was  published  in  a  pamphlet  giving  an  account  of  the  ceremonies  of  unveiling. 


Plate  XXIX. 


Clark  Mills. 

See  Page  181. 


Thomas  Ball. 

See  Page  183. 


THOMAS  BALL. 


MASSACHUSETTS. 
1819- 

HE  organization,  in  Boston,  of  the  "  Washington  Statue  Committee,"  took 
place  on  the  eighty-fourth  anniversary  of  the  battle  of  Lexington,  April  19, 
1859,  for  the  purpose  of  raising  funds  for  a  bronze  equestrian  statue  of 
Washington.  The  ladies  of  Boston  realized  ten  thousand  nine  hundred 
dollars  by  a  fair  ;  Edward  Everett's  statue  committee  contributed  five  thousand  dollars  ;  and 
Hon.  Robert  C.  Winthrop  donated  the  proceeds  of  a  lecture  to  the  fund.  The  commission 
was  given  to  the  sculptor  Thomas  Ball  in  i860;  and  the  statue  was  completed  in  1869, 
at  a  cost,  including  pedestal,  of  forty- two  thousand  four  hundred  dollars.  The  casting  was 
done  by  the  Ames  Manufacturing  Company  of  Chicopee,  Mass.,  Aug.  3,  1867  ;  and  the 
artist  and  workmen  were  all  of  that  State. 

Washington,  in  this  splendid  example  of  American  art,  is  presented  as  the  commander- 
in-chief,  in  the  picturesque  uniform  of  the  Revolution.  It  is  very  appropriately  placed  in 
the  Public  Garden  of  Boston,  in  a  position  facing  the  city  of  Cambridge,  where  he  first 
assumed  the  active  duties  of  the  commander.  It  was  formally  delivered  to  the  keeping 
of  the  city  of  Boston  by  Hon.  Alexander  Rice,  president  of  the  "  Washington  Statue 
Committee,"  Saturday,  July  3,  1869;  and  his  Honor  Mayor  Shurtleff  said  in  response, — 

"  Boston,  through  its  municipal  authorities,  accepts  and  now  formally  receives  this  magnificent 
equestrian  statue  of  the  great  Washington,  promising  to  protect  and  preserve  it  most  faithfully. 
Long  may  it  continue  unblemished  and  uninjured,  to  ornament  these  public  grounds,  a  remembrance 
of  the  virtues  and  patriotism  of  the  Father  of  our  Country,  and  to  incite  and  encourage  all  by  his 
noble  example.  And  may  it  be  a  lasting  memorial  of  the  talents  and  skill  of  one  of  Boston's  most 
gifted  sons,  and  of  the  public  spirit  and  munificence  of  our  citizens." 


JOSEPH  A.  BAILEY. 


FRANCE. 
1825- 

N  July  5,  1869,  a  statue  in  white  marble,  of  colossal  proportions,  was  unveiled 
in  the  space  opposite  the  central  front  of  Independence  Hall.  A  large  and 
enthusiastic  concourse  of  people  was  present  to  receive,  through  Daniel  M. 
Fox,  mayor  of  Philadelphia,  this  patriotic  present  from  the  First  School 
District  of  Pennsylvania.  "The  day  we  celebrate"  occurred  that  year  on  Sunday:  conse- 
quently the  ceremonies  took  place  on  Monday,  or,  as  a  recorder  of  events  wrote,  "  the 
calendar  was  made  to  yield  to  the  feast."  The  accompanying  incidents  were  pleasant  and 
fraternal.  Telegrams  from  various  distant  localities  were  read,  and  received  with  shouts  of 
appreciation  ;  and  "  everybody  seemed  happy  in  the  fact  that  the  day  whose  summer  heat 
had  been  so  dreaded  should  have  dawned  as  cool  and  gentle  as  May." 

The  following  is  the  programme  of  the  exercises ;  and  the  author  gives  a  full  ac- 
count of  the  proceedings,  not  only  because  they  were  interesting,  but  they  impress  the 
fact  that  this  statue  was  an  expression  of  patriotism  from  children. 

MUSIC. 
SINGING. 

INVOCATION  PRAYER,  BY  REV.  ALBERT  BARNES,  D.D. 

MUSIC. 

SINGING  — "Hail  Columbia." 

UNVEILING  OF  THE  STATUE, 
BY  TWO  YOUNG  LADIES  OF  THE  PUBLIC  SCHOOLS. 

SINGING  — "Washington." 

MUSIC. 

SALUTE,  — BY  KEYSTONE  BATTERY,  Capt.  John  V.  Creely. 

ADDRESS,  BY  REV.  HENRY  D.  MOORE. 

SINGING  — "Star-Spangled  Banner." 

PRESENTATION  ADDRESS, 
BY  GEORGE  F.  GORDON,  ESQ. 

RECEPTION  OF  THE  STATUE, 
BY  HON.  DANIEL  M.  FOX,  Mayor. 


Busts,  Statues,  Monuments,  and  Medals.  185 

MUSIC. 
SINGING  —  "  America." 
BENEDICTION,  BY  BISHOP  SIMPSON. 
GUARD  OF  HONOR,  — CADETS  ATTACHED  TO  NORTH-EAST  GRAMMAR-SCHOOL,  Capt.  Brodie. 

On  the  north  side  of  the  base  of  the  statue  is  simply  the  name  "  Washington ;"  but 
the  story  is  told  in  a  few  modest  words  on  the  south  side  :  — 

Erected 
By  the 

Washington  Monument  Association 
Of  the 

First  School  District  of  Pennsylvania. 

The  initiatory  steps  for  this  statue  were  taken  in  August,  1858,  by  the  issuing  of 
circulars  to  the  several  school  sections  of  the  city,  proposing  that  the  "  Washington  Monu- 
ment Association  "  should  be  organized.  The  scheme  was  favorably  received  ;  and  soon  a 
considerable  amount  of  money  was  realized  from  "The  Great  Fair  of  the  Public  Schools," 
which  was  opened  in  the  National  Hall,  Market  Street,  on  the  2 2d  of  February,  1859,  and 
continued  for  three  weeks. 

The  first  intention  of  the  association  was  to  erect  a  grand  monumental  structure  in 
Fairmount  Park ;  but  the  interest  in  the  undertaking  languished  during  the  war,  and  at 
one  period  was  almost  abandoned.  When  peace  was  proclaimed,  however,  the  officers  of 
the  association,  with  the  teachers  of  the  public  schools  and  the  little  ones,  who  had  caught 
their  spirit,  felt  the  greater  importance  of  binding  together  the  Union  by  honoring  a  name 
beloved  by  all ;  and  the  work  was  renewed  with  greater  zeal.  The  design  of  a  monument 
was  relinquished,  and  that  of  a  statue  substituted  ;  a  contract  for  which  was  entered  into 
in  1867  with  Mr.  Bailly,  who,  though  a  native  of  France,  had  for  some  years  been  an 
honored  citizen  of  Philadelphia. 

In  1869  the  city  council  passed  an  ordinance  to  locate  the  statue  "  in  front  of  Inde- 
pendence Hall ; "  and  a  circular  was  printed,  requesting  teachers  to  furnish  the  names  of 
those  scholars  who  had  contributed  to  the  fund,  that  a  record  of  them  might  be  placed 
in  the  base  of  the  pedestal.  A  final  entertainment  for  the  benefit  of  the  fund  was  given 
in  June,  1869,  by  the  pupils  of  the  grammar-schools  and  of  the  "Girls'  and  Boys'  High 
School."  On  the  2d  of  July  following,  the  granite  for  the  base  was  delivered ;  and  on 
the  morning  of  the  4th,  by  great  diligence,  the  statue  was  placed  in  position,  where, 
enfolded  in  the  American  flag,  it  awaited  the  greeting  of  music  and  song,  of  shouting  and 
cannon,  of  prayer  and  eloquence,  and,  what  was  still  more  significant,  the  chorus  of  hundreds 
of  eager  children. 


1 86  Original  Portraits  of  Washington. 

Conspicuous  and  honored  among  the  vast  multitude  who  joined  in  this  ovation  was 
a  small  company  from  the  fast- thinning  ranks  of  the  "veterans  of  1812;"  while  hundreds 
of  soldier-boys  but  lately  returned  from  Southern  battle-fields  shouted  aloud  at  the  happy 
change  from  war  to  peace.  One  announcement,  when  made,  was  received  with  pleasant 
excitement,  which  was,  that  the  handsome  pedestal  upon  which  the  statue  stood  was  of 
Virginia  granite,  cut  and  finished  by  Richmond  mechanics.  The  two  young  ladies  who 
officiated  at  the  unveiling  were  Miss  Josephine  Freeborn  of  the  tenth  school  section,  and 
Miss  Mary  McManus  of  the  third  school  section.  As  the  flag  which  covered  the  statue 
was  removed,  a  number  of  miniature  American  flags  floated  away  over  the  throng  and  the 
platform.  A  spirited  scramble  ensued  to  secure  them  as  mementos  of  the  occasion. 
The  idea  of  unveiling  in  the  mode  adopted  was  that  of  Mr.  John  Pizard,  the  well-known 
rigger,  who  also  placed  the  statue  in  position  for  Mr.  William  Struthers.1  In  the  centre 
of  the  foundation  was  placed  a  box  containing  the  names  of  those  who  assisted  in  the 
successful  accomplishment  of  the  work, — children,  teachers,  board  of  controllers,  mayor, 
and  city  council.  The  statue  is  eight  feet  four  inches  high.  The  left  hand  is  laid  upon 
the  hilt  of  a  sheathed  sword  ;  the  right  rests  upon  the  Bible  ;  the  Bible,  upon  the  Consti- 
tution ;  and  the  flag  of  the  Union  drapes  the  column  beside  the  figure,  which  upholds 
the  two  great  books,  "  the  Law  and  the  Gospel."  The  work  is  very  pleasing,  and  was 
thus  apostrophized  by  one  of  the  orators  of  the  day :  — 

"Behold  it,  colossal,  grand!  But  a  moment  ago  it  was  wrapped  in  the  folds  of  a  starry  banner; 
now  its  beauty  is  unveiled.  Nay,  more  :  admire  it  as  a  work  of  American  art.  Every  mallet,  every 
chisel  and  hammer,  every  square  and  compass,  and  the  mechanical  heads  and  hands,  all  American!" 

The  situation  of  this  statue  is  eminently  suggestive,  standing  as  it  does  at  the  portals 
of  a  building,  which,  more  than  any  other,  is  sacred  to  the  memory  of  the  men  who 
redeemed  with  grand  fidelity  the  pledges  of  "  their  lives,  their  fortunes,  and  their  sacred 
honors"  in  the  cause  of  freedom,  and  beneath  the  shadow  of  that  great  bell  which  rang 
out  the  New  World  anthem  on  the  Fourth  of  July,  1776.  The  following  ode,  by  Benjamin 
F.  Taylor  of  Chicago,  is  one  of  the  most  exquisite  gems  that  the  hundredth  birthday  of 
our  country  called  forth  :  — 

CENTENNIAL  BELLS. 

Ye  belfried  blacksmiths  in  the  air, 

Smite  your  sweet  anvils,  good  and  strong  ! 
Ye  lions  in  your  lofty  lair, 

Roar  out  from  tower  to  tower,  along 

1  The  sarcophagi  in  which  the  remains  of  Gen.  Washington  and  his  wife  were  placed  Oct.  7,  1837,  were  presented 
by  a  member  of  this  family,  Mr.  John  Struthers,  who  wrought  them  with  his  own  hands  from  solid  blocks  of  Pennsylvania 
marble. 


Busts,  Statues,  Monuments,  and  Medals. 


The  wrinkled  coasts  and  scalloped  seas, 
Till  winter  meets  the  orange-breeze 
From  bridal-lands  that  always  wear 
The  orange-blossoms  round  their  hair : 
Centennial  Bells,  ring  on  ! 

Pour  out,  ye  goblets  far  and  near, 

Your  grand  melodious  iron  flood, 
Till  pine  and  palm  shall  think  they  hear 

The  axes  smite  the  stately  wood, 
Nor  dream  the  measured  cadence  meant 
The  clock-tick  of  the  continent, 
The  footfall  of  a  world  that  nears 
The  field-day  of  a  hundred  years : 
Centennial  Bells,  ring  on  ! 

Ye  blossoms  of  the  furnace-fires, 

Ye  iron  tulips,  rock  and  swing, 
The  People's  Primal  Age  expires, 

A  hundred  years  the  reigning  king. 
Strike  one,  ye  hammers  overhead ; 
Ye  rusty  tongues,  ring  off  the  red, 
Ring  up  the  Concord  Minute-men, 
Ring  out  old  Putnam's  wolf  again : 
Centennial  Bells,  ring  on  ! 

Where  prairies  hold  their  flowery  breath 
Like  statues  in  the  marble  ledge  ; 

Where  mountains  set  their  glittering  teeth 
Through  wide  horizon's  rugged  edge, 

And  hold  the  world  with  granite  grip 

As  steady  as  a  marble  lip, 

And  here  and  there,  and  everywhere, 

With  rhythmic  thunder  strike  the  air,  — 
Centennial  Bells,  ring  on  ! 

Ring  down  the  curtain  on  To-day, 
And  give  the  Past  the  right  of  way, 
Till  fields  of  battle  red  with  rust 
Shine  through  the  ashes  and  the  dust 
Across  the  Age,  and  burn  as  plain 
As  glowing  Mars  through  window-pane. 
How  grandly  loom  like  grenadiers 
These  heroes  with  their  hundred  years  !  — 
Centennial  Bells,  ring  on  ! 


1 88 


Original  Portraits  of  Washington. 


Ring  for  the  blue-eyed  errand-boy 

That  quavered  up  the  belfry-stair, 
"They've  signed  it!  signed  it!"  and  the  joy 

Rolled  forth  as  rolls  the  Delaware. 
The  old  man  started  from  a  dream  ; 
His  white  hair  blew,  a  silver  stream ; 
Above  his  head  the  bell,  unswung, 
Dumb  as  a  morning-glory  hung ; 
The  time  had  come  awaited  long ; 
His  wrinkled  hand  grew  young  and  strong ; 
He  grasped  the  rope  as  men  that  drown 
Clutch  at  the  life-line  drifting  down ; 
The  iron  dome  as  wildly  flung 
As  if  Alaska's  winds  had  rung. 

Strange  that  the  founder  never  knew, 
When  from  the  molten  glow  he  drew 
That  bell,  he  hid  within  its  rim 
An  anthem  and  a  birthday  hymn. 
So  rashly  rung,  so  madly  tossed, 
Its  old  melodious  volume  lost, 
Its  thrilled  horizon  rent  and  cleft, 
Of  sweet  vibration  all  bereft ; 
And  yet,  to  hear  that  tocsin  break 

The  silence  of  a  hundred  years, 
Its  rude  discordant  murmurs  shake, 

And  rally  out  the  soul  in  cheers, 
Would  set  me  longing  to  be  rid 

Of  sweeter  voices,  and  to  bid 
Centennial  Bells  be  dumb. 

Although  no  mighty  Muscovite, 

No  iron  welkin  rudely  hurled, 
That  bell  of  Liberty  and  Right 

Was  heard  around  the  Babel  world  ! 
Land  of  the  green  and  golden  robe  ! 

A  three-hours'  journey  for  the  Sun. 
Two  oceans  kiss  thee  round  the  globe ; 

Up  the  steep  world  thy  rivers  run 
From  geologic  ice  to  June. 
A  hundred  years  from  night  to  noon  ! 

In  blossom  still,  like  Aaron's  rod  ! 
The  clocks  are  on  the  stroke  of  one, 

One  Land,  one  Tongue,  one  Flag,  one  God! 
Centennial  Bells,  ring  on  ! 


JOHN  Q.  A.  WARD. 


OHIO. 

1830- 

HE  most  recent  statue  of  Washington  was  erected  at  Newburyport,  Mass.,  on 
the  22d  of  February,  1879.  It  is  of  heroic  proportions,  and  was  cast  in 
bronze  by  George  Fischer  &  Brothers  of  New -York  City.  It  represents 
Washington  in  the  uniform  of  a  general,  the  right  arm  raised,  and  the  left 
resting  upon  the  hilt  of  his  sword.  The  face  is  not  so  strong,  but  exhibits  greater  benev- 
olence of  expression  than  would  be  expected  in  a  countenance  usually  so  grave  if  not 
severe.  All  the  details  are  finely  executed,  and  the  costume  has  not  the  stiffness  that  so 
often  offends.  From  the  hi(jh  coat-collar  down  to  the  lonQf  boots,  the  entire  dress  is 
historic  and  elegant.  The  coat  is  carelessly  fastened  at  the  middle  button,  and  sweeps 
gracefully  back  over  the  thighs.  The  ruffles  of  the  shirt,  the  silk  lapels  of  the  coat,  and 
even  the  displacement  of  the  cords  of  bullion  on  the  epaulets  caused  by  the  movement 
of  the  arm,  are  all  fully  shown. 

The  statue  stands  upon  a  pedestal  of  light-gray  granite,  which  bears  the  inscription  :  — 

Presented  by 
Daniel  I.  Tenney. 

This  gentleman,  now  of  New -York  City,  who  was  born  in  Newburyport,  wished  to  give 
some  substantial  token  of  regard  for  his  native  city,  and  invited  models  for  a  statue  of 
Washington.  From  a  number  sent  to  him,  he  selected  the  one  submitted  by  J.  Q.  A.  Ward 
of  Ohio,  well  known  through  his  chef-aceuvre,  "The  Indian  Hunter,"  in  Central  Park, 
New  York,  than  which  no  work  of  greater  spirit  and  truth  has  ever  been  produced  in  this 
country.  Mr.  Tenney  made  a  contract  for  the  statue,  to  be  completed  within  two  years,  and 
informed  the  city  council  of  Newburyport  of  his  design  in  the  following  manner :  — 

To  his  Honor  the  Mayor  and  City  Council  of  the  City  of  Newburyport. 

Gentlemen,  —  I  have  the  honor  to  announce  to  you  that  Daniel  I.  Tenney  of  New -York  City, 
a  native  of  Newburyport,  feeling  a  very  deep  interest  in  his  birthplace,  has  contracted  with  the 
celebrated  artist  J.  Q.  A.  Ward  for  a  bronze  statue  of  Washington,  which,  when  completed,  he 
proposes  to  present  to  this  city. 

.89 


190  Original  Portraits  of  Washington. 

As  his  representative,  I  would  respectfully  petition  your  honorable  body  for  leave  to  locate  the 
statue  on  the  triangular  spot  at  the  east  end  of  the  Bartlett  Mall,  and  for  permission  to  occupy 
the  ground  during  its  erection. 

Respectfully  yours, 

EDWARD   F.  COFFIN. 

This  request  was  immediately  granted  by  the  city  council,  which  appointed  a  committee 
to  prepare  the  foundations,  and  arrange  for  the  ceremonies  upon  the  erection  of  the  statue. 

Early  on  this  the  one  hundred  and  forty-seventh  return  of  the  birthday  of  Wash- 
ington, the  town-hall  was  filled  with  eager  citizens.  Back  of  the  rostrum,  which  was 
draped  in  the  stars  and  stripes,  and  filled  with  invited  guests  and  officials,  was  a  copy  of 
Trumbull's  portrait  of  Washington,  presented  to  Newburyport  by  her  distinguished  son, 
the  late  Hon.  Caleb  Cushing.  After  prayer,  Keller's  "American  Hymn"  was  sung  by  a 
chorus  of  sixteen  voices ;  and  then  followed  the  address,  by  Rev.  Thomas  M.  Clark, 
bishop  of  Rhode  island,  another  distinguished  native  of  the  place.  The  speaker,  by  way 
of  enforcing  the  lesson  of  the  hour,  recalled  the  most  prominent  events  in  the  career  of 
Washington,  as  exhibiting  the  perfect  truth  of  his  life,  which  should  shine  as  a  beacon- 
light  to  those  who  love  their  country.  At  the  close  of  this  chaste  and  eloquent  effort, 
the  statue  was  formally  presented  by  Edward  F.  Coffin,  on  behalf  of  the  donor,  as  "  an 
American  work,  designed  and  executed  by  American  artisans."  This  was  responded  to  by 
the  mayor  of  the  city ;  and  a  procession  was  formed,  which  marched  to  Brown's  Square, 
where  the  ceremony  of  unveiling  was  witnessed.1 

One  of  the  poetical  offerings  of  the  day  was  the  following  sonnet,  written  by  Hon. 
George  Lunt,  a  native  of  the  old  town,  who  was  unable  to  be  present:  — 

WASHINGTON. 

Throughout  the  world,  among  the  sons  of  men, 
What  fame  like  thine,  beyond  the  reach  of  time? 
Heroes  and  kings,  by  History's  supple  pen 
Emblazoned  stand,  too  oftenest  for  crime ; 
But  thy  pure  record,  generous  and  sublime, 
Reveals  no  stain  nor  blot  the  light  to  mar 
That  shines  through  all  those  living  lines  that  show 
How  honest  Duty  was  thy  guiding  star ; 

«  When  the  day  set  apart  for  this  occasion  arrived,  there  was  an  imposing  celebration  in  the  City  Hall,  New  York, 
in  which  the  Society  of  the  Sons  of  Newburyport  participated  by  a  committee,  reproducing  through  them  the  proceedings 
of  a  meeting  which  had  been  held  in  Cooper  Institute,  on  the  29th  of  January,  1879,  and  presenting  an  address  prepared 
for  this  event  by  the  chairman,  Rev.  Stephen  H.  Tyng,  D.D. 


Busts,  Statues,  Monuments,  and  Medals.  191 


In  the  hard  present,  patient ;  and  afar 

Seeing  the  glorious  future's  radiant  bow ; 

Great  in  the  field,  and  in  the  chair  of  State, 

Won  for  thy  country's  honor,  simply  great. 

Thy  country  saw  thee  chiefest  citizen  ; 

The  world  proclaimed,  "  Behold,  the  chief  of  men  ! " 


EDWARD  V.  VALENTINE. 

VIRGINIA. 

HIS  popular  sculptor,  after  making  a  study  of  the  Houdon  statue,  has  pro- 
duced, in  compliance  with  a  request  from  the  secretary  of  the  Grand  Lodge 
of  Virginia,  what  is  known  as  the  "Masonic  Bust,"  —  a  work  having  the 
merit  of  being  a  conscientious  reproduction  of  the  statue  so  dear  to  the 
"Old  Dominion,"  and  commending  itself  directly  to  the  great  brotherhood  of  Masons. 
The  sash  and  jewel  worn  by  Washington  as  Past  Mason,  when  presiding  in  Lodge  22, 
Alexandria,  Va.,  which  he  founded  in  1788,  are  presented  on  this  bust,  making  it  a  per- 
petual remembrance  of  his  fraternity  with  the  institution  he  sincerely  venerated,  "  Whose 
liberal  principles,"  he  said,  "  are  founded  on  the  immutable  laws  of  truth  and  justice." 

Washington  joined  the  Masonic  fraternity  at  Fredericksburg,  Va.  A  record  of  this 
event  is  found  in  the  journal  of  that  lodge,  Nov.  6,  1752,  and  that  his  admittance-fee 
was  £2  $s.    On  Aug.  4,  1753,  he  had  advanced  to  Master  Mason. 


MONUMENTS. 


RIBUTES  to  George  Washington  span  an  hundred  years,  beginning  by  a 
recognition  of  obligation  from  the  government  before  he  reached  the  zenith 
of  his  fame,  and  renewed  even  in  the  acts  of  the  Forty-seventh  Congress  ; 
nor  is  it  possible  that  his  name  will  be  less  honored  in  all  our  future.  Thus 
far  no  national  endeavor,  no  monument,  no  shaft,  has  answered  the  demands  of  the 
people.  Territories,  cities,  and  mountains,  halls  and  stately  edifices,  societies  and  organi- 
zations, bear  his  name  ;  but  the  Washington  Memorial  which  will  fill  the  hearts  of  those  who 
revere  his  character  has  not  yet  been  conceived.  This  should  not  be  a  matter  of  regret 
or  self-condemnation,  even  to  the  greatest  enthusiasts  :  ages  passed  ere  a  fitting  monu- 
ment was  reared  by  the  Germans  to  "  Herman  the  Liberator ;  "  and  many  years  may  be 
numbered  before  the  same  is  accomplished  for  the  hero  of  the  eighteenth  century. 

The  United  States  is  yet  young  in  art ;  and  it  should  not  be  forgotten  that  a  clause 
in  Washington's  will  laid  the  financial  corner-stone  for  national  art-education.  When  there 
is  a  national  school  of  art,  doubtless  the  most  perfect  expression  of  reverence  this  nation 
can  utter  in  that  school  will  be  inscribed,  Washington. 

Notwithstanding  there  are  so  many  portraits,  statues,  medals,  and  memorials  of 
Washington,  only  four  monuments  have  been  erected  to  his  memory.     The  first,  it  is 

true,  had  but  slight  claim  to  be  called  a  monument ;   as   it  was  merely  a  plain  slab  of 

192 


* 


Orzgina/  Portraits  of  Washington.  193 

freestone,  which  was  placed  by  G.  W.  P.  Custis  on  the  site  of  the  old  Washington  home- 
stead, in  Westmoreland  County,  Virginia,  June,  1815.    It  bore  this  inscription:  — 

Here, 

The  11th  of  February,  1732,  (old  style,) 
George  Washington 
was  born. 

A  succinct  account  of  the  placing  of  this  slab  was  given  by  Mr.  Custis  in  "  The  Alex- 
andria Gazette"  as  late  as  185 1.  The  old  gentleman's  fervor,  in  the  remembrance  of  this 
"  act  of  filial  love,"  warmed  into  genuine  eloquence  while  making  a  quaint  picture  of  the 
scene. 

On  a  bright  morning  in  "  the  leafy  month  of  June "  he  glided  in  his  own  schooner, 
the  "  Lady  of  the  Lake,"  down  the  broad  Potomac,  until  he  reached  the  mouth  of  Pope's 
Creek,  where  he  took  a  small  boat  to  the  old  "  Wakefield  farm."  He  was  accompanied 
by  three  gentlemen,  and  fell  in  with  a  hunting-party  of  friends,  who  joined  them,  swelling 
their  number  to  eight  or  ten.    Mr.  Custis  says,  — 

"Desirous  of  making  the  ceremonial  of  depositing  the  stone  as  imposing  as  circumstances  would 
permit,  we  enveloped  it  in  the  'star-spangled  banner'  of  our  country;  and  it  was  borne  to  its 
resting-place  in  the  arms  of  the  descendants  of  four  Revolutionary  patriots  and  soldiers.  .  .  .  We 
gathered  together  the  bricks  of  an  ancient  chimney  that  once  formed  the  hearth  around  which 
Washington  in  his  infancy  had  played,  and  constructed  a  rude  kind  of  pedestal,  on  which  we  rever- 
ently placed  the  first  stone,  commending  it  to  the  respect  and  protection  of  the  American  people  in 
general,  and  the  citizens  of  Westmoreland  in  particular.  Bidding  adieu  to  those  who  had  received 
us  so  kindly,  we  re-embarked,  and  hoisted  our  colors  ;  and,  being  provided  with  a  piece  of  cannon 
and  suitable  ammunition,  we  fired  a  salute,  awakening  the  echoes  that  had  slept  for  ages  around  the 
hallowed  spot.  And  while  the  smoke  of  our  martial  tribute  to  the  birthplace  of  our  Pater  Patria 
still  lingered  on  the  bosom  of  the  Potomac,  we  spread  our  sails  to  a  favoring  breeze,  and  sped 
joyouslv  to  our  homes." 

The  paternal  estate  of  the  Washingtons,  known  as  "  Wakefield,"  is  situated  several  miles 
from  the  west  bank  of  the  Potomac,  and  remained  in  the  family  about  one  hundred  years. 
The  dwelling  in  which  Washington  was  born  was  an  unpretending  two-story  frame-house, 
the  central  building  of  a  group  of  offices,  out-houses,  and  servants'  quarters,  as  it  was  the 
usage  in  those  days  to  build  plantation  residences.  It  was  destroyed  by  fire  caught  from 
some  Sea-Island  cotton  stored  in  the  garret,  while  the  family,  with  relatives  and  neighbors, 
were  making  merry  one  evening  during  the  Christmas  holidays.  The  ruins  were  visited 
by  an  artist  in  1875,  who  was  requested  by  Dr.  Joseph  M.  Toner  of  Washington  to  make 
a  sketch  of  the  place.    Only  a  part  of  the  chimney  remained  standing  at  that  date ;  and 


« 


194  Busts,  Statues,  Monuments,  and  Medals. 

the  bricks  —  brought  from  England  —  were  in  a  fair  state  of  preservation.  The  memorial 
slab,  of  which  the  insatiate  relic-hunter  had  left  but  a  small  portion,  was  in  a  clump  of 
fig-trees  and  shrubbery.  The  spot  where  the  house  stood,  the  yard,  garden,  and  orchard, 
were  all  under  cultivation  ;  and  the  sketch  of  the  artist  showed  a  stubble-field,  with  shocks 
of  golden  grain  grouped  about  a  tall,  half-fallen  chimney. 

The  estate  passed  out  of  the  family  in  the  early  part  of  the  century,  except  a  small 
reservation  of  the  site  of  the  old  house,  which  was  in  after-years  presented  to  the  State 
of  Virginia  under  certain  conditions.  In  the  revised  State  code,  1873,  is  found  this 
clause  :  — 

"  Whereas  Lewis  W.  Washington  has,  through  the  governor,  presented  to  the  State  of  Virginia 
the  sites  of  the  birthplace  of  George  Washington  and  of  the  homes  and  graves  of  his  progenitors 
in  America,  in  perpetuity,  on  condition  solely  that  the  State  shall  cause  these  places  to  be  perma- 
nently enclosed  by  an  iron  fence,  based  on  stone  foundation  ;  and  shall  mark  the  same  by  suitable 
and  modest  though  substantial  tablets,  to  commemorate  for  the  rising  generation  these  notable  spots  : 
therefore  the  said  grant  is  hereby  accepted  ;  and  the  governor  of  this  Commonwealth  shall  cause  a 
proper  conveyance  of  the  title  to  said  sites  to  be  secured  to  the  State,  and  shall  cause  the  same  to 
be  enclosed  in  the  manner  set  forth  in  the  preamble  of  this  Act,  Section  8.  The  sum  of  five  thousand 
dollars  is  hereby  appropriated  for  the  purpose  of  the  Act,  to  be  paid  from  any  moneys  not  otherwise 
appropriated." 

This  official  movement  of  securing  a  title  to  the  sites  was  the  only  effort  of  the  State 
of  Virginia  in  her  sovereign  capacity.  Her  daughters,  however,  ever  sensitive  of  the 
fair  fame  of  the  revered  old  State,  were  so  humiliated  by  the  neglect  of  these  sacred  spots, 
that  in  1878  the  "Mary  Washington  Association  of  America"  was  formed,  the  purpose 
of  which  was  to  preserve  and  protect  the  three  places  more  nearly  connected  with  the 
name  of  Mary  Washington  and  her  illustrious  son  :  first,  the  birthplace  of  Washington  ; 
second,  the  home  of  his  mother  in  Fredericksburg ;  third,  the  "  Pope's-Creek  Church," 
where  he  was  christened.  It  is  proposed,  that,  at  the  two  places  first  mentioned,  durable 
but  unostentatious  slabs  or  shafts  shall  be  reared  ;  while  on  the  site  of  the  third  a  memo- 
rial asylum  (for  a  charitable  purpose  not  yet  determined  upon)  shall  be  erected,  and  named 
in  honor  of  Mary  Washington.  This  clause  in  the  Constitution  of  the  Association  more 
fully  sets  forth  the  proposed  memorial  work  :  — 

"  The  acquisition,  by  grant  from  the  Legislature  of  Virginia,  of  the  sites  of  the  birthplace  of 
Washington  and  grave  of  Mrs.  Washington,  and,  by  purchase  from  the  owners  of  the  Washington 
residence  in  Fredericksburg,  of  the  old  cemetery  at  Pope's  Creek,  and  of  the  remains  of  the  old 
'  Pope's-Creek  Church,'  in  which  he  was  baptized. 

"  The  enclosure  with  a  substantial  iron  railing,  and  the  erection  of  stones  suitably  inscribed, 
on  the  sites  of  the  two  last ;  of  monuments  creditable  to  the  nation  over  the  two  first ;  and,  in 


Busts,  Statues,  Monument  Si  and  Medals. 


195 


connection  with  the  third,  the  establishment  of  a  memorial  asylum,  to  be  dedicated  to  the  memory, 
and  called  by  the  name,  of  the  mother  of  Washington." 

The  Legislature  of  Virginia  in  1878  was  petitioned,  and  incorporated  this  association. 
A  national  interest  was  sought,  as  the  name  indicates,  by  the  patriotic  women,  who  thought, 
by  thus  together  working  to  imbue  the  mind  of  the  youth  of  the  land  with  renewed  venera- 
tion for  its  foremost  citizen,  was  the  best  way  to  serve  the  whole  country. 

The  following  year  (June  10,  1879)  a  resolution  was  introduced  in  the  House  of 
Representatives,  by  Mr.  Harris  of  Virginia,  making  a  small  appropriation  for  a  monument 
to  mark  the  spot  where  Washington  was  born  ;  which  was  adopted  without  a  dissenting 
voice.  In  the  Senate,  Mr.  Voorhees  of  Indiana  introduced  the  same  resolution ;  and, 
referring  to  its  unanimous  passage  in  the  House,  the  senator  said,  "  I  think  it  would  be 
a  graceful  thing  to  mark  the  conclusion  of  a  somewhat  acrimonious  session  of  Congress, 
for  the  Senate  to  take  up  the  joint  resolution,  and  pass  it  in  a  similar  spirit  and  a  similar 
way."    Obeying  the  suggestion  of  the  eloquent  speaker,  the  following  was  adopted  :  — 

(PUBLIC   RESOLUTION   NO.  5.) 

Joint  Resolution  directing  a  monument  to  be  erected  to  mark  the  birthplace  of  George 
Washington. 

.  Be  it  resolved  by  the  Senate  and  House  of  Representatives  of  the  United  States  of  America  in 
Congress  assembled,  That  the  sum  of  three  thousand  dollars  be  and  is  hereby  appropriated  out  of  any 
money  in  the  treasury  not  otherwise  appropriated,  for  the  purpose  of  erecting  a  monument  at  and 
and  to  mark  the  birthplace  of  George  Washington  ;  which  said  sum  shall  be  expended  under  the 
direction  of  the  secretary  of  state,  who  shall  have  the  management  and  control  of  the  erection  of 
said  monument.    [Approved  June  14,  187Q. 

On  the  2 2d  of  February,  1881,  the  following  resolution  was  also  adopted:  — 

Joint  .Resolution  amending  and  re-enacting  joint  resolution  approved  June  14,  1879,  directing 
a  monument  to  mark  the  birthplace  of  George  Washington. 

Resolved  by  the  Senate  and  House  of  Representatives  of  the  United  States  of  America  hi  Con- 
gress assembled,  That  joint  resolution  entitled  "  Joint  Resolution  directing  a  Monument  to  be  erected 
to  mark  the  Birthplace  of  George  Washington,  approved  June  14,  1879,"  be  amended  and  re-enacted 
so  as  to  read  as  follows  :  "  That  the  sum  of  thirty  thousand  dollars  be  and  is  hereby  appropriated 
out  of  any  money  in  the  treasury  not  otherwise  appropriated,  for  the  purpose  of  erecting  a  monument 
at  and  to  mark  the  birthplace  of  George  Washington  ;  which  sum  shall  be  expended  under  the 
direction  of  the  secretary  of  state,  who  shall  have  the  management  and  control  of  the  erection  of 
said  monument  :  provided  no  part  of  the  sum  hereby  appropriated  shall  be  expended  until  the  secre- 
tary of  state  shall  be  satisfied  with  the  title  to  the  land  to  be  occupied  by  the  monument,  and  the 
securement  of  a  public  right  of  way  thereto.    [Approved  Feb.  26,  1881. 


X    ' •  "  >7 

IS? 

HE  inquiry  has  frequently  been  made  as  to  the  existence  of  a  portrait  of 
Washington's  mother.  None  has  been  discovered  by  the  author,  and  only 
one  suggestion  found  in  regard  to  such  a  portrait :  that  was  quite  a  number 
of  years  ago,  when  a  gentleman  in  England  wrote  to  Thomas  Sully  that  he 


had  seen  a  beautiful  likeness  of  a  Miss  Mary  Ball,  who  had  married  a  Mr.  Washington, 
both  of  that  country,  and  that  their  son  George  could  be  none  other  than  our  first  Presi- 
dent. This  statement  called  forth  an  earnest  letter  from  the  obliging  pen  of  the  then 
venerable  G.  W.  P.  Custis,  who  rather  amused  the  public  by  an  indignant  arraying  of 
facts,  patent  to  all,  upon  the  parentage  and  birth  of  his  father  by  adoption.  In  Fred- 
ericksburg, Va.,  stands  an  unfinished,  almost  a  demolished,  monument  to  Mrs.  Mary 
Washington,  the  corner-stone  of  which  was  laid  by  President  Jackson,  May,  1833.  It 
was  undertaken  by  a  gentleman  of  ample  fortune,  but  never  quite  completed ;  and  during 
the  battle  of  Fredericksburg  was  almost  destroyed,  being  in  line  of  one  of  the  most 
effective  batteries  of  the  Union  army.  In  this  condition  its  broken  column  and  chipped 
base  became  an  easy  prey  to  relic-hunters.    One  of  the  prominent  citizens  of  the  place 

says,  "  The  unfinished  monument  to  Mary  Washington  is  near  Kenmore,  an  old  mansion  on 
196 


Busts,  Statues,  Monuments,  and  Medals.  197 

the  western  limit  of  the  town,  near  the  spot  to  which  she  was  accustomed  to  retire  for 
meditation  at  evening."  It  is  of  Vermont  marble  ;  the  square  base  ten  feet  high,  support- 
ing a  pedestal  composed  of  four  Doric  pillars  on  either  side  of  a  square  of  smaller  dimen- 
sions. Upon  this  pedestal  it  was  intended  to  raise  a  shaft  thirty  feet.  The  undressed 
marble  for  the  shaft  lies  on  the  ground  beside  the  ruined  memorial.  The  cut  preserves 
the  original  design  and  the  touching  simplicity  of  the  inscription  chosen  :  — 

Mary, 
the  Mother  of 
Washington. 

In  1874,  at  the  suggestion  of  Hon.  James  B.  Sener,  representative  from  that  district,  a 
committee  was  appointed  to  visit  Fredericksburg,  and  consider  the  advisability  of  re-erect- 
ing this  monument.  The  report  warmly  recommended  an  appropriation  for  that  pur- 
pose ;  and,  though  meeting  with  no  opposition,  it  was  lost  in  the  inscrutable  mazes  of 
legislation.  The  sooner  this  pious  duty  is  discharged  to  the  mother,  the  more  evident  will 
be  the  nation's  gratitude  to  her  illustrious  son.  The  desire  to  find  a  counterpart  of  the 
features  of  Mary  Washington  is  very  natural,  the  world  never  fully  measuring  a  great  man's 
greatness  until  it  has  become  acquainted  with  his  mother.  Our  knowledge  of  Mrs. 
Washington  only  outlines  a  character  of  truth  and  strength.  Lafayette,  after  visiting  her, 
said  he  never  felt  such  veneration  for  man  or  woman.  Washington,  even  in  the  very 
zenith  of  his  glory,  delighted  to  bow  with  childlike  obedience  to  her  slightest  command. 
In  the  glimpses  of  their  happy  association  given  to  the  public,  one  of  the  most  dis- 
tinguishing traits  of  his  character  was  conspicuous,  which  was  reverence,  —  reverence  for 
his  mother,  reverence  for  the  rights  of  man,  reverence  for  civil  authority,  reverence  for 
all  the  institutions  of  justice,  and  a  sublime  reverence  for  truth. 


WASHINGTON  MONUMENT. 

BALTIMORE,  MD. 


HE  State  of  Maryland  erected  the  first  monumental  column  to  the  Father 
of  his  Country.  In  1809  certain  patriotic  citizens  of  Baltimore  met,  and 
resolved  that  a  monument  should  be  raised  to  Washington.  It  was  deter- 
mined that  an  elegant  column  should  express  to  posterity  the  sentiments  of 
the  people  of  that  State,  and  that  the  special  event  commemorated  should  be  the  last 
act  of  the  commander's  great  career,  —  the  resignation  of  his  commission  at  Annapolis, 

To  collect  means  for  this  work,  John  Comegys,  James  A.  Buchanan,  and  David  Win- 
chester obtained  permission  from  the  Legislature  to  raise  a  hundred  thousand  dollars  by 
lottery.  The  enterprise  progressed  rapidly  and  with  'enthusiasm.  Designs  were  submitted, 
and  the  one  selected  by  a  board  of  managers  was  from  Robert  Mills,  the  well-known 
architect  of  Charleston,  S.C.  His  drawing  was  a  Doric  column  of  majestic  proportions 
arising  from  a  grand  square  base.  The  chaste  Doric  capital  was  surmounted  by  a  circular 
pedestal,  on  which  was  a  colossal  statue  of  Washington.  The  base  was  fifty  feet  square, 
and  twenty-five  feet  in  height,  and  the  column  twenty  feet  in  diameter  at  its  base,  with 
an  altitude  of  one  hundred  and  eighty  feet,  upon  which  was  placed  the  statue,  measuring 
sixteen  feet. 

July  4,  1815,  the  thirty-ninth  anniversary  of  the  declaration  of  American  Independ- 
ence, and  six  years  after  the  inauguration,  in  Baltimore,  of  the  movement  to  erect  a  Wash- 
ington monument,  was  the  day  selected  for  the  laying  of  the  corner-stone.  Perhaps  no 
event  since  the  solemn  obsequies  of  Washington  had  produced  such  a  profound  sensation 
in  that  part  of  the  country  as  the  laying  of  the  corner-stone  of  the  first  monumental 
column  to  his  memory.  Its  erection,  with  that  of  the  "Battle  Monument"  a  few  years 
later,  won  for  the  devoted  metropolis  the  well-established  sobriquet  of  "  The  Monu- 
mental City." 

The  site  first  determined  upon  was  the  spot  where  the  "  Battle  Monument  "was  after- 
wards placed.  The  veteran  Col.  John  Eager  Howard,  who  resided  in  the  suburbs  of  the 
city,  gave  an  elevated  location  in  his  park,  which  the  managers  accepted,  glad  to  secure 

the  association  of  their  great  monument  with  the  hero  of  Cowpens. 

198 


* 


Busts,  Statues,  Monuments,  and  Medals.  199 

The  corner-stone  was  laid  in  the  presence  of  an  enthusiastic  crowd  of  thirty  thou- 
sand. The  entire  official,  civic,  and  military  population,  not  only  of  Baltimore,  but  of 
the  State,  united  in  making  the  occasion  one  to  be  remembered  as  long  as  the  city  shall 
exist.  The  Masonic  fraternity  took  conspicuous  part ;  and  the  president  and  members  of 
the  Order  of  the  Cincinnati  of  Maryland  were  present.  A  portrait  of  Washington,  by 
Rembrandt  Peale  (the  one  afterwards  purchased  by  the  United-States  Government,  and 
now  at  the  Capitol),  was  placed  in  an  elevated  position,  that  it  might  be  distinctly  seen. 
Below  the  portrait  was  a  drawing  of  the  completed  monument  as  designed  by  Mr.  Mills. 
These  pictures  were  draped  with  elegant  banners  and  flags ;  and  beneath  them  were 
rifles,  drums,  and  cannon  captured  in  the  wars  of  the  Revolution  and  of  1812. 

A  salute  of  thirty-nine  guns,  indicative  of  the  number  of  years  of  the  life  of  the 
republic,  followed  by  martial  music,  introduced  the  ceremonials  of  the  day.  A  short  address 
was  made  by  Mr.  James  A.  Buchanan,  president  of  the  board  of  managers,  who,  in  referring 
to  the  many  expressions  of  veneration  given  to  Washington  in  Baltimore,  carefully  related 
the  proceedings  of  the  corporation  on  the  occasion  of  his  Excellency's  passing  through  the 
city,  en  route  for  Mount  Vernon,  March  11,  1797,  after  his  retirement  from  public  life. 
Following  the  address  of  Mr.  Buchanan,  an  "invocation"  was  made  by  the  Right  Rev. 
Bishop  Kemp.  The  president  and  managers  then  descended  to  where  the  stone  was 
suspended,  and  invited  his  Excellency  Levi  Winder,  R.  W.  G.  M.,  Col.  John  Eager  Howard, 
president,  and  Gen.  Samuel  Smith,  vice-president,  of  the  Cincinnati,  and  Mayor  Edward 
Johnson,  to  assist  in  laying  the  stone.  The  president  of  the  board  presented  the  Grand 
Master  with  the  square,  the  plumb,  and  the  level ;  requesting  that  officer  to  ascertain  and 
report  the  fitness  of  the  stone.  The  master  took  the  implements,  and  proclaimed  the  stone 
"  true  and  trusty."  The  secretary  of  the  board  then  placed  upon  it  a  copper  plate,  and 
a  sealed  glass  bottle  containing  a  likeness  of  Washington,  his  "  Farewell  Address,"  several 
Baltimore  papers,  and  a  series  of  United-States  coin  up  to  date.  On  one  side  of  the  stone 
were  cut  three  names,  "William  Steuart  and  Thomas  Tomson,  stone  cutters  —  Sater  Steven- 
son, stone  mason."    On  the  plate  was  engraved  :  — 

On  the  4th  of  July,  A.D.  1815, 
was  laid  this 
Foundation  stone 
of  a 
Monument 
to  be  erected  to  the 
memory 
of 

George  Washington. 


2QO 


Original  Portraits  of  Washington. 


The  reverse  of  the  plate  contained  twenty-six  names,  comprising  the  directors,  secretary, 
architect,  and  the  mayor  of  the  city.  Below  the  names  was  this  line :  "  The  site  was 
presented  by  Colonel  John  Eager  Howard." 

Four  gentlemen  —  the  president  of  the  board,  the  president  and  vice-president  of  the 
Cincinnati,  and  R.  W.  Grand  Master  —  then  proceeded  to  insert  and  settle  the  stone. 
After  a  prayer  by  the  Grand  Master,  he  received  from  the  president  of  the  board  three 
vessels  containing  corn,  oil,  and  wine,  and  said, — 

"  Sir,  as  the  scattering  of  corn,  the  pouring-out  of  wine  and  oil,  are  a  part  of  our  ancient 
ceremonial,  with  your  assent  I  will  perform  that  duty." 

Having  received  permission,  he  scattered  the  corn,  and  poured  the  wine  and  oil, 
saying, — 

"  May  the  all-bountiful  Author  of  nature  bless  this  city  with  an  abundance  of  corn,  wine,  and  oil, 
and  with  all  the  necessaries  and  conveniences  of  life !  And  may  the  same  Almighty  Power  preserve 
this  city  from  ruin  and  decay  to  the  latest  posterity ! " 

The  formula  prescribed  for  such  occasions  by  the  ritual  was  solemnly  recited,  conclud- 
ing the  grand  Masonic  ceremony.  Mr.  Buchanan  then  addressed  the  architect,  and  formally 
placed  in  his  hands  the  authority  to  proceed  with  the  work,  giving  him  also  the  symbolic 
square,  plumb,  and  level,  and  enjoining  him  to  faithfully  erect  a  monument  in  accordance 
with  the  design  accepted  ;  which  trust  Mr.  Mills  thus  publicly  received,  and  promised  to 
honor.  A  prayer  by  Rev.  Dr.  Ingalls  was  followed  by  music ;  and  the  exercises  were 
concluded  by  a  salute  of  a  hundred  guns,  and  three  volleys  fired  by  the  whole  line  of 
infantry. 

An  eye-witness  of  the  event  says,  with  a  quaintness  worthy  of  repetition,  — 

"  The  evening  sky  was  beautifully  bespangled  by  rockets  thrown  from  the  Java  frigate  and  from 
the  mansion  of  Col.  Howard  in  the  park.  They  rose  in  a  brilliant  line  of  fire,  and,  forming  a  graceful 
arch,  broke  into  stars  as  they  descended.  Divine  Providence  seemed  to  smile  on  the  occasion  :  the 
air  was  delightfully  cool,  and  the  firmament  serene.  The  evening  silence  and  tranquillity  that  closed 
the  joyful  turbulence  of  the  day  formed  a  striking  contrast,  and  seemed  to  display  that  sobriety  of 
pleasure  which  the  solemnities  of  the  occasion  demanded."  ■ 

Mr.  Mills  prosecuted  the  work  with  zeal,  and  at  the  close  of  the  second  year  the 
foundation  and  the  sub-foundation  were  finished.  The  column  went  steadily  up,  allowing 
only  time  for  the  structure  to  firmly  settle ;  and  when  the  capital  was  completed,  the 
plummet  indicated  that  the  deviation  from  line  was  not  the  eighth  of  an  inch.  In  1824 
the  scaffolding  was  removed,  in  compliment  to  Lafayette,  who  visited  Baltimore.  During 
the  interval  of  the  next  two  years  the  marble  terraces  and  marble  steps  to  the  four 


Busts,  Statues,  Monuments,  and  Medals. 


201 


entrances  of  the  base  were  made.  Two  hundred  and  twenty  steps  were  built  inside  of  the 
column,  around  a  central  column  of  solid  brick  masonry,  by  which  circling  way  the  summit 
is  attained.  The  interior  work  is  of  brick,  with  an  outer  layer  of  thick  blocks  of  marble. 
The  marble,  stone,  and  all  other  materials  were  found  within  twelve  miles  of  Baltimore, 
—  a  fact  that  was  received  with  decided  satisfaction. 

The  architect,  in  1827,  invited  a  competitive  display  of  models  for  the  statue;  and 
the  commission  was  given  to  Andre  Causici,  a  sculptor  from  Verona,  then  engaged  on 
historic  relievos  for  the  Capitol  at  Washington.  A  block  of  white  marble  seventeen  feet 
long,  of  the  required  proportions,  and,  as  was  proven  in  the  cutting,  of  beautiful  quality, 
was  presented  to  the  board.  The  circumstance  of  the  finding  of  this  marble  a  few  miles 
from  the  city,  in  an  open  field,  near  the  quarries  of  Mrs.  Taylor,  caused  a  great  deal  of 
surprise,  and  was  considered  of  happy  significance.  In  commenting  upon  a  report  relating 
to  the  marble  in  that  region,  it  was  said  of  this  block,  "It  was  found  solitary  and  alone, 
as  if  waiting  for  the  honors  to  be  conferred  upon  it."  Causici  worked  for  two  years  without 
intermission  upon  the  statue,  following  the  accepted  model  by  Houdon,  and  developing 
the  design  of  Mr.  Mills,  —  to  present  Washington  in  military  garb,  and  in  the  act  of  ten- 
dering his  resignation  to  the  president  of  Congress.  The  artist,  though  trammelled  by 
the  conception  of  another,  created  a  majestic,  graceful,  and  impressive  statue,  —  a  work 
altogether  acceptable.  In  truth,  no  statue  of  Washington  has  called  forth  less  adverse 
criticism.  With  true  art  instinct,  Causici  learned  to  love  the  responsive  marble  that  had 
grown  to  life-semblance  under  his  chisel  ;  and  he  became  very  nervous  as  to  the  possi- 
bility of  ever  safely  raising  it  to  the  dazzling  height,  and  securely  placing  it  upon  the 
square  of  four  feet  awaiting  its  reception.  His  mind  became  so  imbued  with  the  dread, 
that,  during  the  last  few  months  of  his  labor,  he  was  often  heard  to  exclaim  in  rapid 
succession,  "One  hundred  and  sixty  feet  high!  One  hundred  and  sixty  feet  high!"  Mr. 
Mills  had  no  want  of  faith  in  his  own  calculations,  and  calmly  committed  the  placing  of 
the  statue  into  the  competent  hands  of  Capt.  John  D.  Woodside,  whose  success  in  the 
Herculean  task  was  not  only  a  relief  to  the  anxiety  of  the  Italian  artist,  but  also  to  the 
public  mind,  which  was  becoming  quite  exercised  upon  the  matter.  The  architect  was 
earnestly  enjoined  to  spare  no  expense  in  machinery,  and  on  one  occasion  jocosely  said 
to  a  friend  that  he  hoped  to  convince  him  that  he  would  "at  least  take  no  risks  by 
being  too  economical,  as  his  bill  for  new  cordage  was  one  thousand  dollars."  The  whole 
cost  of  raising  the  statue  was  three  thousand  dollars. 

On  Nov.  25,  1829,  Mr.  Mills  published  an  invitation,  couched  in  glowing,  patriotic 
phrase,  to  the  authorities  and  citizens  generally,  to  be  present  in  Howard  Park  at  twelve 
o'clock,  to  witness  the  final  elevation  of  the  statue  of  Washington  to  the  summit  of  the 
column.    On  the  fine  autumnal  morning  a  large  crowd  convened  long  before  the  appointed 


202 


Original  Portraits  of  Washington. 


hour.  They  watched  in  anxious  silence  the  steady,  sloth-like  ascent  of  the  immense  mass 
of  marble.  Section  after  section  was  safely  hoisted  and  securely  fastened  ;  and  when  at 
last  the  entire  statue  stood  revealed  —  a  grand  figure,  a  life-thought  —  before  the  eyes  of 
this  "  cloud  of  witnesses,"  their  enthusiasm  broke  forth  in  loud  shouts,  while  tears  coursed 
down  the  furrowed  cheeks  of  many  a  veteran  present. 

Clouds  which  had  lowered  darkly  a  few  moments  before  now  broke  away ;  and 
Washington  appeared  to  the  exalted  imaginations  of  the  spectators  as  almost  a  heavenly 
vision.  To  add  to  the  intense  feeling  of  the  hour,  a  star  appeared,  sending  its  rays  earth- 
ward —  a  mid-day  greeting  ;  and  at  the  same  moment,  it  is  testified  by  many  persons,  an 
immense  gray  eagle  encircled  the  statue  with  a  screaming  salute ;  while  music  and  the 
boom  of  cannon  proclaimed  aloud  that  the  ordeal  was  passed,  and  the  Baltimore  Monument 
was  crowned  with  the  statue  of  Washington. 

The  figure  faces  south  ;  and  the  criticisms  passed  upon  it  at  the  time  were,  almost 
without  exception,  eulogies.    One  writer  said, — 

"The  great  desideratum  in  statuary  has  been  at  length  effected  in  the  model  of  this  great 
work,  executed  by  Causici ;  namely,  to  retain  the  modern  costume,  and  not  offend  the  classic  eye. 
The  model  before  us  does  this  in  an  eminent  degree  ;  and  it  is  now  sincerely  to  be  hoped  that  we 
shall  hereafter  never  have  occasion  to  clothe  statues  of  our  great  men  in  the  Roman  garb  or  Grecian 
robe,  which  estranges  them  completely  to  our  eyes.  .  .  .  The  tout-ensemble  of  the  figure  is  all  that  we 
could  wish,  and  creates  a  confidence  that  posterity  will  award  us  praise  for  a  departure  from  the  estab- 
lished forms  and  prejudices  of  the  old  school,  and  daring  to  think  for  ourselves  in  matters  of  taste 
in  the  fine  arts,  as  well  as  in  matters  of  mild  government  and  in  politics.  The  fine  expression  and 
benignity  in  the  face  of  this  figure,  the  graceful,  modest  manner  of  presenting  the  parchment-scroll 
containing  the  commission,  and  the  noble  mien  of  the  whole  person,  strike  the  beholder  with  surprise 
and  pleasure;  and  the  whole  character  of  the  man  seems  developed  before  him." 

There  was  yet  much  work  to  be  done  in  the  details  of  ornamentation,  which  was  full 
of  character  and  national  meaning.  A  broad  frieze,  running  under  the  cornice  around  the 
exterior  wall  of  the  grand  base,  was  to  receive  a  series  of  civic  wreaths  encircling  the 
names  of  the  States  then  forming  the  Union  ;  and  above  each  doorway  was  to  be  placed 
a  large  tablet  inscribed,  in  bronze  letters,  — 

"To  George  Washington,  by  the  State  of  Maryland." 

The  lower  terrace  of  marble  slabs,  the  granite  footways,  and  the  marble  plinth  for  the 
iron  railing,  were  completed  in  1835.  In  the  succeeding  year  the  circular  iron  fence  — 
composed  of  shields,  fascial  columns,  and  spears  —  enclosing  the  whole  was  finished.  The 
bronze  inscriptions  on  the  four  facades  of  the  ground  base  give  the  dates  of  the  chief 
events  of  Washington's  life:  — 


Busts,  Statues,  Monuments,  and  Medals. 


203 


Soitth. 


"Born  22nd  February  1732.    Died  14th  December  1799." 
"Commander-in-chief  of  the  American  Army,  June  25th  1775. 


East. 


Resigned  his  Commission  at  Annapolis,  December  23rd  1783." 
North.  —  "Trenton,  25th  December,  1776  —  Yorktown  19th  October,  1781." 
West.  —  "President  of  the  United  States,  1789. 

Returned  to  Mount  Vernon,  4th  March,  1797." 

The  plat  of  ground,  in  the  centre  of  which  the  monument  stands,  is  two  hundred  feet 
square,  and  is  divided  by  four  broad  gravelled  walks  running  up  a  gentle  slope.  The 
spot,  which  is  known  as  "  Mount  Vernon  Place,"  is  surrounded  by  very  handsome  residences  ; 
and  the  Peabody  Institute  is  diagonally  across  from  the  monument.  The  entire  work 
is  altogether  more  satisfactory  and  of  greater  elegance  than  will  probably  be  erected  in 
another  city  for  generations ;  and  the  people  of  Maryland  can  never  realize  greater  pleasure 
and  pride  through  the  expenditure  of  two  hundred  thousand  dollars. 

The  books  of  the  custodian  show  that  the  fine  view  from  the  summit  of  the  monument 
(nearly  three  hundred  feet  above  tide-water)  is  annually  enjoyed  by  thousands  of  visitors. 
The  scenery  embraces  land  and  water,  the  busy  streets  and  by-ways  of  the  metropolis, 
belts  of  heavy  woodland  miles  away,  the  broad  Chesapeake  covered  with  the  white  sails 
of  commerce,  and  wreaths  of  circling  smoke,  which  indicate  the  great  avenues  of  inland 
trade ;  but  the  most  notable  spot  discerned  from  this  elevation  is  Fort  McHenry,  associated 
in  the  American  mind  with  our  national  anthem,  —  • 


"  The  Star-spangled  Banner!' 


WASHINGTON  MONUMENT. 


ORDER    OF   THE   SOCIETY   OF   THE  CINCINNATI. 

N  July  4,  1810,  the  order  of  the  Society  of  the  Cincinnati,  State  of  Penn- 
sylvania, inaugurated  a  movement  to  collect  within  their  membership  a  sum 
sufficient  to  raise  a  handsome  equestrian  monument  to  their  first  President. 
The  sum  could  only  be  gradually  gathered  from  so  limited  a  number  :  so  it 
was  placed  in  hands  of  trustees  appointed  by  the  society,  and  in  i860  had  reached 
forty-five  thousand  dollars.  Several  years  ago  a  sufficient  amount  was  declared  to  justify 
negotiations  for  a  work,  that,  when  completed,  would  cost  two  hundred  thousand  dollars. 
To  the  German  sculptor  Siemering  of  Berlin  the  commission  was  given  ;  his  model  hav- 
ing not  only  been  approved  by  the  trustees,  but  received  encomiums  from  art  critics.  A 
resolution  allowing  its  free,  entry  was  secured.  It  is  to  be  completed  within  eight  years, 
and  placed  in  Fairmount  Park. 

The  following  is  an  accurate  description  of  model  :  — 

On  the  four  corners  of  the  foundation  are  four  figures,  symbolizing  four  rivers  of 
the  United  States,  — 

The  Mississippi   Bear  and  buffalo. 

Hudson  .........  Doe  and  stag. 

Potomac  .       .       .       .              .       .       .       .  Cow  and  horse. 

Ohio  .  .       .       .       .       .       .              .       .  Panther  and  black  bear. 

Out  of  the  centre  of  this  foundation  arises  the  pedestal,  in  the  form  of  a  quadrangle, 
to  the  narrow  sides  of  which  are  attached  semicircles.  Over  this  hollow  circle  is  Wash- 
ington mounted  on  a  powerful  horse.  In  his  left  hand  he  holds  the  reins  ;  in  his  right, 
a  field-glass.  Behind  is  a  female  figure  representing  the  Colonies  at  the  outbreak  of  the 
war.  Aroused  by  the  cry  of  war,  she  awakes  her  slumbering  sons.  At  her  left,  one  of 
them  offers  her  his  sword,  whilst  with  the  other  hand  he  grasps  the  sheath.  She  is  in 
the  act  of  arousing  the  son  on  her  right.  In  front,  a  woman,  representing  the  liberated 
Union,  sits  majestically,  with  a  Phrygian  cap  and  long  waving  hair,  clad  in  a  cloak  hang- 
ing far  down  from  her  shoulders,  and  a  magnificent  dress  sustained  by  a  costly  girdle. 
204 


Busts,  Statues,  Monuments,  and  Medals.  205 

In  her  left  hand  she  upholds  the  trident,  whilst  her  right  arm  embraces  the  overflowing 
horn.  Under  her  feet  are  the  broken  chains.  Two  young  heroes  kneel  beside  her.  One 
offers  her  the  conquered  flags ;  the  other,  a  wreath,  whilst  he  presses  to  his  heart  the 
star-spangled  banner.  The  connection  between  the  two  groups  is  formed  by  two  eleva- 
tions (relief)  along  the  length  of  the  pedestal.  On  one  side  is  the  train  of  the  American 
army,  surmounted  by  flags  and  moving  figures  of  cavalry  leaders  and  generals.  On  the 
other  side  is  represented  the  movement  of  emigrants  and  others  toward  the  Great  West. 
In  front  of  the  foundation  is  an  eagle  bearing  the  coat-of-arms  of  the  Union  ;  at  the 
back,  the  coat-of-arms  of  Pennsylvania.  The  whole  on  a  raised  platform,  reached  by 
thirteen  steps  on  the  four  sides.  The  statue  and  other  figures  to  be  in  bronze,  the 
pedestal  and  steps  in  granite. 


WASHINGTON  AND  LAFAYETTE  MONUMENT. 


PHILADELPHIA. 

N  the  19th  of  March,  1838,  was  incorporated  "The  Monument  Cemetery"  in 
what  was  then  suburban  Philadelphia.  It  received  its  name  from  the  inten- 
tion of  the  company  to  erect  on  a  high  central  spot  a  joint  memorial  to 
the  "Father  of  his  Country"  and  his  devoted  compeer  Lafayette. 
The  monument  was  designed  by  the  celebrated  engraver,  John  Sartain,  who  also 
executed  the  models  for  the  medallions  of  the  heads  of  Washington  and  Lafayette,  and 
wrote  the  inscriptions.  It  was  commenced  in  1858,  and  completed  and  dedicated  on 
Saturday,  May  29,  1869.  Made  entirely  of  granite,  with  bronze  decorations,  it  presents 
an  interesting  though  complicated  symbolic  study,  and  embodies  in  marble  immortality 
no  less  than  five  facts ;  and  the  ingenious  artist  has  singularly  combined  grace  in  form 
with  historic  record.  This  elaborate  monument,  so  full  of  thought  and  suggestion,  is 
seldom  shown  to  strangers  in  the  city  of  William  Penn,  though  to  see  it  is  well  worth 
the  slight  effort. 

The  design  is  an  obelisk  (not  in  the  original  sense,  as  it  is  composed  of  many 
blocks),  and  surmounts  a  pedestal,  making  a  combined  height  of  eighty-five  feet.  The 
obelisk  is  fifty-six  feet  high,  —  exactly  the  altitude  of  Cleopatra's  Needle,  —  in  number  of 
feet  corresponding  to  the  number  of  the  signers  of  the  Declaration  of  Independence.  The 
sub-shaft  upon  which  it  is  placed  is  ornamented  with  deeply-cut  vertical  grooves,  below 
which,  on  the  four  sides,  are  thirteen  steps,  in  remembrance  of  the  sturdy  old  Colonies ; 
while  the  grooves — eight  on  either  side  —  indicate  the  thirty-two  States  of  the  Union  at 
the  time  the  monument  was  constructed.  The  age  of  Washington  is  told  by  the  distance 
from  the  pedestal  to  the  apex,  which  is  sixty-seven  feet  ten  inches  ;  i.e.,  sixty-seven  years 
and  ten  months.  The  surface  measure  of  the  pedestal  is  seventy-seven  square  yards  and 
'eight-twelfths;  i.e.,  seventy-seven  years  and  eight  months,  —  the  age  of  Lafayette.  Clus- 
ters of  rods  bound  together  with  a  fillet,  the  classic  emblem  of  strength  in  union,  encircle 
the  base  of  the  obelisk.    At  each  corner  is  a  funeral  urn,  below  which  is  an  eagle's  head 

in  bold  relief,  bearing  a  wreath  of  laurel.    On  the  south  side  is  a  medallion,  with  a  pro- 

206 


Busts,  Statues,  Monuments,  and  Medals. 


207 


file  head  of  Washington  of  heroic  size ;  and  on  the  north  side,  in  similar  style,  is  the 
head  of  Lafayette.    The  inscriptions  are  as  follows :  — 

\South.~\ 
GEORGE  WASHINGTON. 
First  in  war,  First  in  peace, 
and 

.   First  in  the  hearts  of  his  countrymen. 
As  a  warrior 
He  served  refusing  pay 
and  led  in  the  achievement  of  our  Independence. 
As  a  statesman  and  lawgiver 
His  guiding  wisdom  assisted  in  framing  the 

fundamental  law. 
As  first  President  of  the  United  States 
He  governed  with  firmness  and  moderation. 


as  a  patriot 
he  bequeathed 
his  bright  example 
and  earnest  counsel 
an  immortal  legacy 
to  his  country. 


Bas-relief. 
[HEAD  OF  WASHINGTON.] 


AS  A  MAN 
HIS  CHARACTER 
STOOD  SUPREME 

DM  ITS 
GRAND  EQUIPOISE 
OF  NOBLEST  QUALITIES. 


Modest  as  great  —  Prudent  as  brave 
He  gave  the  best  years  of  his  life  to  the  public  weal, 
and  died  in  voluntary  retirement 
The  brightest  star  in  the  constellation 

OF  THE 

Great  men  of  all  time. 


{Norths 
Gilbert  Motier  de  Lafayette 
Benefactor 
Of  two  hemispheres. 
Born  a  Noble  of  France 
he  served  a  citizen  soldier  of  American  liberty. 
The  cherished  friend  of  Washington 
by  whose  side  he  fought 
and  bled 
in  defence  of  a  great  principle 
that  the  only  legitimate  government 
is  that  which  derives  its  authority  from  the  governed. 


208 


Original  Portraits  of  Washington. 


A  PATRIOT 
FEARLESS  AND  FIRM 
IN 

DAYS  OF  TERROR. 


Bas-relief. 
[HEAD  OF  LAFAYETTE.] 

The  constant  supporter  of  constitutional  freedom. 
Like  Washington 
he  died  in  voluntary  retirement 
leaving  a  name  that  belongs  to  history, 
the  lesson  of  his  life  to  future  generations, 
his  most  revered  memory 
to 

every  American. 


A  MAN 
OF  UNCHANGING 
INTEGRITY 
UNDER  CHANGING 
DYNASTIES. 


WASHINGTON  NATIONAL  MONUMENT. 


HE  history  of  the  Washington  National  Monument  is  a  part  of  the  country's 
legislation,  preserved  in  her  archives,  where  it  is  attainable  by  the  humblest 
citizen.     Apart,  and  yet  intertwined  with  that,  is  a  chronicle  of  individual 
enterprise  ;  and  these  together  present  a  curious  chapter  of  national  action 
and  personal  endeavor. 

The  progress  of  the  work  has  necessarily  been  fitful,  swayed  by  the  condition  of  the 
country  and  the  humor  of  the  people.  At  first  it  advanced  so  rapidly,  in  theory,  that 
there  were  sanguine  expectations  of  its  completion  before  the  expiration  of  Washington's 
second  presidential  term.  Houdon  was  induced  to  believe  that  the  commission  would  be 
given  to  him  ;  and,  later,  Ceracchi  had  equally  good  reason  to  expect  the  same.  Then 
nothing  was  done,  and  very  little  said,  about  the  monument  for  years.  In  this  way,  almost  a 
century  has  elapsed  since  its  conception,  —  a  delay  not  seriously  to  be  regretted,  as  it  is 
now  full  early  in  the  existence  of  this  republic  to  erect  a  satisfactory  memorial  to  its 
founder.  Reference  has  several  times  been  made  to  the  initiative  action  of  the  Govern- 
ment in  regard  to  a  Washington  monument  embodied  in  the  resolution  which  unanimously 
passed  the  Continental  Congress  Aug.  7,  1783:  "That  an  equestrian  statue  of  Washing- 
ton should  be  erected  at  the  place  where  Congress  shall  be  established."  It  was  also 
determined  that  it  should  "be  of  bronze,  and  placed  upon  a  marble  pedestal,  on  which 
should  be  represented  four  of  the  principal  events  of  the  war  in  which  he  commanded  in 
person."    The  following  inscription  was  adopted  :  — 

"The  United  States,  in  Congress  assembled,  ordered  this  statue  to  be  erected,  in  the  year  of 
our  Lord  1783,  in  honor  of  George  Washington,  commander-in-chief  of  the  armies  of  the  United 
States  of  America,  during  the  war  which  vindicated  and  secured  their  liberty,  sovereignty,  and 
independence." 

After  the  adoption  of  this  resolution,  both  Houdon  and  Ceracchi  were  approached  in 
respect  to  the  work  ;  and  Joseph  Wright  advanced  so  far  as  to  make  a  bust  from  a  life- 
cast.  A  site  was  selected,  and  approved  by  the  President ;  but  it  only  progressed  theo- 
retically during,  the  life  of  Washington. 

209 


2  IO 


Original  Portraits  of  Washington. 


Dec.  24,  1799,  Congress,  when  taking  action  upon  the  death  of  Washington,  adopted 
a  second  resolution,  which  differed  from  the  first,  and  may  be  claimed  to  define  more 
clearly  the  wishes  of  the  nation  in  regard  to  an  adequate  memorial.  This  resolution, 
passed  on  the  last  Christmas  Eve  of  the  century,  was  thus  worded:  — 

"That  a  marble  monument  be  erected  by  the  United  States  at  the  city  of  Washington,  and 

that  the  family  of  Gen.  Washington  be  requested  to  permit  his  body  to  be  deposited  under  it,  and  that 

the  monument  be  so  designed  as  to  commemorate  the  great  events  of  his  military  and  political  life." 
• 

This  permission  was  granted  by  his  widow,  though  with  unconcealed  reluctance  ;  but, 
Congress  being  dilatory  in  its  subsequent  action,  the  plan  was  not  carried  into  effect.  A 
second  application,  on  the  centennial  anniversary  of  his  birth,  Feb.  22,  1832,'  to  have  the 
body  removed  to  a  vaulted  chamber  prepared  for  it  in  the  crypt  of  the  Capitol,  was 
refused  by  the  executors  of  his  will. 

It  will  be  seen  that  the  Government  had  under  consideration  two  memorials  to 
Washington,  —  an  equestrian  statue  of  a  military  character,  and  a  monument  recording 
the  career  of  the  General,  the  President,  and  the  Citizen. 

May  8,  1800,  a  special  committee  upon  Washington  monuments  was  appointed  by  the 
House  of  Representatives,  which  made  a  report  advising  the  immediate  execution  of  the 
resolution  passed  in  1783,  in  regard  to  the  equestrian  statue;  approving,  also,  of  the  more 
comprehensive  monument.  The  President  was  directed  to  carry  out  this  order,  and  the 
sum  of  one  hundred  thousand  dollars  was  mentioned ;  but  no  appropriation  was  made 
until  January,  1801,  when   the  Lower  House  voted  that  two  hundred  thousand  dollars  be 

1  This  the  centennial  of  Washington's  birth  was  thus  officially  noted,  and  the  22d  of  February  has  never  since 
that  year  been  allowed  to  pass  unmarked  by  acts  of  either  public  or  private  veneration  for  the  memory  of  Washington. 

A  very  interesting  paper  upon  the  observance  of  Washington's  birthday  was  sent  to  the  Virginia  Historical  Society 
on  Feb.  22,  1878,  by  Dr.  J.  M.  Toner,  the  closing  part  of  which,  by  permission,  is  here  given:  — 

"The  earliest  reference  I  have  met  with  as  to  a  celebration  of  the  birthday  of  Washington  was  on  Feb.  II,  1782,  in  Virginia, 
by  some  of  his  persona!  friends,  when  the  general  had  attained  his  fiftieth  year.  The  Revolutionary  struggle  was  at  the  time  still 
undecided.    A  brief  record  is  made  in  the  Virginia  Gazette  of  Feb.  15,  1783,  of  a  public  meeting  in  Richmond,  as  follows:  — 

"'Richmond,  Feb.  15,  1783.  —  Tuesday  last  being  the  birthday  of  his  Excellency  Gen.  Washington,  our  illustrious  commander- 
in-chief,  the  same  was  commemorated  here  with  the  utmost  demonstration  of  joy.' —  Virginia  Gazette,  or  The  American  Advertiser, 
Feb.  15,  1783. 

"In  Maryland,  Feb.  II,  1783,  a  public  celebration  of  Washington's  birthday  took  place  at  the  court-house  in  Talbot  County, 
a  complete  record  of  which  has  fortunately  been  preserved,  which  I  quote  in  full. 

"  From  the  Remembrancer,  or  Important  Repository  of  Public  Events  for  the  Year  1783,  London,  part  2,  p.  52. 
"Extract  of  a  letter  from  Talbot  Courthouse,  date  Feb.  11,  1783 :  — 

" '  This  being  the  first  year  that  the  birthday  of  our  great  and  worthy  general  hath  been  announced  to  the  public,  Henry 
Hooper,  Esq.,  lieutenant  of  Dorchester  County,  Maryland,  with  a  respcctahle  body  of  the  truly  patriotic  officers  and  gentlemen  of  the 
county,  assembled  at  Cambridge  to  celebrate  the  auspicious  day  which  gave  birth  to  the  great  defender  of  American  liberty,  where,  a 
public  dinner  being  provided,  the  company  assembled  at  noon,  and  after  dinner  drank  the  following  toasts:  — 

" '  1.  Gen.  Washington :  long  may  he  live,  the  boasted  hero  of  liberty  I 

" '  2.  Congress. 


Bttsts,  Statues,  Monuments,  and  Medals. 


2  I  I 


devoted  to  this  purpose.  Strange  to  say,  the  Senate  failed  to  indorse  this  measure,  and  the 
matter  thus  remained  for  more  than  a  generation. 

The  fact  that  all  the  congressional  resolutions  upon  a  national  monument  to  Wash- 
ington remained  practically  "a  dead  letter"  created  a  great  deal  of  disapproval  among  his 
surviving  personal  friends  and  companions  in  arms,  who,  being  heartily  tired  of  the 
sinuous  paths  of  legislation,  determined  to  make  a  practical  effort  in  the  matter.  In  1833 
a  few  distinguished  citizens  of  Washington  met,  and  organized  a  "  Washington  Monument 
Society,"  electing  John  Marshall  president.  The  venerable  chief  justice  died  in  a  few 
months  after  his  appointment;  and  James  Madison,  Ex- President,  was  selected  to  succeed 
him.  Mr.  Madison  was  then  more  than  fourscore,  yet  that  his  heart  still  felt  enthusiasm 
in  honoring  the  name  of  Washington  was  evident  in  his  utterances  upon  his  acceptance 
of  the  office.  When,  in  after-years,  his  widow  replied  to  an  invitation  to  witness  the 
laying  of  the  corner-stone,  she  quoted  a  portion  of  this  letter  of  acceptance,  which  may 
harmoniously  be  introduced  here.  After  expressing  regret  that  his  extreme  age  and  deli- 
cate health  would  render  the  position  no  more  than  "honorary,"  he  wrote:  — 

"  A  monument  worthy  the  memory  of  Washington,  reared  by  the  means  proposed,  will  com- 
memorate at  the  same  time  a  virtue,  a  patriotism,  and  a  gratitude  truly  national,  with  which  the 
friends  of  liberty  everywhere  will  sympathize,  and  of  which  our  country  may  always  be  proud." 

The  amount  of  subscription  to  the  fund  was  restricted  to  the  sum  of  one  dollar,  and 
at  first  the  progress  was  slow  ;  but,  after  the  restriction  was  removed,  the  collections  soon 
reached  the  amount  of  nearly  one  hundred  thousand  dollars.    It  should  not  be  forgotten 

"'3.  Governor  and  State  of  Maryland. 

"'4.  Louis  XVI.,  the  protector  of  the  rights  of  mankind. 

"'5.  Continental  army. 

"  '  6.  Maryland  line. 

" '  7.  May  trade  and  navigation  flourish  I 

"'8.  The  seven  united  provinces,  our  allies. 

" '  9.  The  Count  Rochambeau  and  French  army. 

"'10.  May  the  union  between  the  powers  in  alliance  ever  continue  on  the  basis  of  justice  and  equity! 

"'11.  May  the  friends  of  freedom  prove  the  sons  of  virtue  1 

"'12.  Conversion  to  the  unnatural  sons  of  America. 

" '  13.  May  the  union  of  the  American  States  be  perpetuated ! 

'"The  evening  was  spent  with  the  utmost  festivity.' 

"The  nth  of  February  was  celebrated  in  New  York  in  1784  with  festivity  and  poem-song,  'God  bless  America  I'  The 
occasion  is  referred  to  by  William  Keltz  of  the  New- York  Historical  Society  as  the  first  public  celebration  of  Washington's  birthday, 
which  you  will  see  is  an  error.  .  .  . 

"Other  celebrations  took  place  in  New  York,  the  nth  of  February  being  selected  until  1792,  when  the  22d  was  recognized. 
The  nth  of  February  was  the  day  celebrated  in  the  various  cities  of  our  country  as  the  birthday  of  Washington,  up  to  1791,  when 
in  Philadelphia  the  22d  was  observed.  The  nth  was,  however,  celebrated  in  Boston  as  late  as  1792:  the  same  was  observed  in 
Baltimore,  Md.,  in  1792.  In  Alexandria,  Va.,  the  nth  of  February  was  celebrated  as  late  as  1793.  After  this  date  the  22d  of 
February  seems  to  have  been  generally  regarded  as  the  birthday  of  the  illustrious  George  Washington." 


2  I  2 


Original  Portraits  of  Washington. 


that  it  was  money  which  came  direct  from  the  people  that  was  used  during  the  first  six 
years  in  building  the  National  Washington  Monument. 

Congress  passed  a  resolution  Jan.  31,  1848,  authorizing  the  "Washington  Monument 
Society"  "to  erect  a  monument  to  the  memory  of  George  Washington  upon  such  portion 
of  the  public  ground  or  reservation  in  the  city  of  Washington,  not  otherwise  occupied,  as 
shall  be  selected  by  the  President  of  the  United  States  and  the  board  of  managers  of 
said  society  on  which  to  erect  said  monument,  and  for  the  necessary  protection  thereof." 
The;  society,  in  an  address  to  the  public  generally,  and  to  the  many  associations  formed 
throughout  the  country  to  aid  the  work,  detailed  the  considerations  which  led  to  the 
selection  of  the  site,  as  follows  :  — 

"  The  site  selected  presents  a  beautiful  view  of  the  Potomac ;  is  so  elevated,  that  the  monument 
y.'ill  be  seen  from  all  parts  of  the  surrounding  country ;  and,  being  a  public  reservation,  it  is  safe 
from  all  future  destruction  of  view.  It  is  so  near  the  river,  that  material  for  constructing  the  monu- 
ment can  be  conveyed  to  it  from  the  river  with  but  little  expense. 

"  In  addition  to  this  and  kindred  reasons,  the  adoption  of  the  site  was  further  and  impressively 
recommended  by  the  consideration  that  the  monument  to  be  erected  on  it  would  be  in  full  view  of 
Mount  Vernon,  where  rest  the  ashes  of  the  chief,  and  by  the  evidence  that  Washington  himself, 
who  with  unerring  judgment  had  selected  this  site  to  be  the  capital  of  the  nation,  had  also  selected 
this  very  spot  for  a  '  Monument  to  the  American  Revolution,'  which  in  the  year  1795  was  proposed 
'  should  be  erected  or  placed  at  the  permanent  seat  of  government  of  the  United  States.'  This 
monument  was  to  have  been  erected  by  Ceracchi  the  Roman  sculptor,  and  paid  for  by  the  contri- 
butions of  individuals.  The  same  site  is  marked  on  Major  L'Enfant's  map  of  Washington  City  as 
the  site  for  the  Equestrian  Monument  of  Gen.  Washington  ordered  by  Congress  in  1783  ;  which  map 
was  examined,  approved,  and  submitted  to  Congress  by  him  when  President  of  the  United  States." 

Though  this  site  has  been  abundantly  objected  to,  it  is  doubtful  if  a  more  fitting  spot 
could  have  been  selected.  The  area,  then  consisting  of  thirty-five  acres,  and  now  enlarged 
to  forty-five,  is  called  "  Monument  Place."  The  surroundings  are  such,  that,  under  the 
management  of  a  tasteful  landscape-gardener,  one  of  the  most  exquisite  pictures  on  the 
continent  may  be  developed. 

After  the  organization  of  the  "  Washington  Monument  Society,"  the  board  of  managers 
submitted  a  design  ; 1  and  the  execution  of  the  gigantic  work  was  placed  in  the  hands  of 

1  A  lithograph  of  this  design  was  shortly  afterwards  issued,  with  this  inscription :  — 

The  Washington  National  Monument 
The  loftiest  Monument  on  Earth  to  a 
Nation's  Greatest  Benefactor. 
Earnestly  Recommended  to  the  Favor  of  Our  ♦ 
Countrymen. 

F.  Pierce,  J.  Q.  Adams,  Z.  Taylor,  J.  K.  Polk,  Albert  Gallatin,  Millard  Fillmore,  H.  Clay,  Daniel  Webster. 


Busts,  Statues,  Monuments,  and  Medals. 


213 


Mr.  Robert  Mills,  the  successful  architect  of  the  Baltimore  Monument.  Under  his  engi- 
neering, the  site  was  soon  prepared  for  the  foundation-stone.  This  was  a  superb  block 
of  Maryland  marble,  weighing  twenty-four  hundred  pounds,  and  was  taken  from  the  quarry 
of  Mr.  Thomas  Symonton,  near  Baltimore,  who  generously  presented  it  for  this  purpose. 
The  excavation  and  cover  for  the  stone  were  gratuitously  made  by  Messrs.  Dougherty  and 
Berry  of  Washington.  The  cavity  was  carefully  lined  with  zinc,  and  the  stone  beautifully 
dressed  by  the  same  artisans.  In  this  cavity  were  deposited  nearly  one  hundred  articles 
of  more  or  less  value,  which  were  selected  from  numerous  contributions.  These  will  prove 
a  rich  treat  for  Macaulay's  mythical  New-Zealander,  for  in  them  is  comprehended  a  com- 
plete register  of  our  civilization.  There  were  portraits  of  Washington  (engravings,  and 
daguerrotypes  from  paintings),  his  family  coat-of-arms,  seals,  medals,  and  all  the  coins 
of  the  United  .  States,  from  the  Washington  cent  .  (issued  in  England  in  1783)  up  to 
date,  Continental  money  and  bank-notes  of  various  denominations,  a  description  of  the 
magnetic  telegraph,  with  Bibles,  maps,  almanacs,  guides,  surveys,  reports,  histories,  poems, 
autograph  letters,  government  archives,  the  design  of  the  monument,  a  banner,  and  a 
number  of  newspapers,  including  the  day's  issue,  also  a  variety  of  Masonic  publica- 
tions, etc. 

< 

When  the  cavity  was  being  hewn  out,  the  chips  of  marble  were  coveted  as  relics ; 
and  the  board  of  managers  ordered  square  bits  of  this  marble  to  be  polished  and  inscribed, 
as  souvenirs,  to  be  presented  to  the  State  delegations,  and  deposited  in  the  library  or 
museum  of  each  State  or  Territory.    The  label  on  these  mementos  was  :  — 

"  To  the  State  of    this  piece  of  the  corner-stone  of  the  Washington  National  Monument, 

laid  July  4,  1848,  is  presented  by  the  board  of  managers." 

The  copper-plate  on  the  foundation-stone  was  engraved  in  handsome  style,  and  pre- 
sented by  Mr.  D.  O.  Hare.    This  inscription  was  adopted :  — 

July  4th  1776. 
Declaration  of  Independence  of  the  United  States  of 
America. 
July  4th  1848. 
This  corner-stone  laid  of  a  monument  by  the  people  of 
The  United  States  to  the  memory  of  George  Washington. 
James  "K.  Polk,  President  of  the  United  States,  and,  ex  officio,  President  of  the  Society. 
William  Brent,  First  Vice-President. 

William  W.  Seaton,  Mayor  of  Washington,  and,  ex  officio,  second  Vice-President. 
Gen.  A.  Henderson,  Third  Vice-President: 

J.  B.  H.  Smith,  Treasurer.  George  Watterson,  Secretary. 


214 


Original  Portraits  of  Washington. 

Board  of  Managers. 
Major-Gen.  Winfield  Scott  Peter  Force 


Gen.  N.  Towson 
Col.  J.  J.  Abert 
Col.  J.  Kearney 
Gen.  Walter  Jones 
Thomas  Carbery 


Wm  A.  Bradley 
P.  R.  Fendall 
Thomas  Munro 
Walter  Lenox 
M.  F.  Maury 
Thomas  Blagden. 
Elisha  Whittlesey,  General  Agent. 


Thomas  Carbery 
William  Bradley 


Building  Committee. 


George  Watterson 
Col.  J.  J.  Abert. 


Committee  of  Arrangements. 

Gen.  A.  Henderson  Walter  Lenox 

Lieut.  M.  F.  Maury. 
Joseph  A.  Bradley,  Chief  Marshal. 
Robert  Mills,  Architect. 


The  country  was  now  interested  and  excited  over  the  laying  of  the  corner-stone  of 
the  great  monument.  It  was  at  first  determined  that  the  ceremony  should  take  place  on 
the  22d  of  February,  1848  ;  but  it  was  postponed  until  July  4  of  the  same  year.  Depu- 
tations were  sent  from  societies  formed  in  the  different  States  ;  and  the  nation  with  one 
voice  determined  to  mark  the  event  with  every  possible  consideration. 

The  orator  first  selected  was  "  the  old  man  eloquent,"  John  Ouincy  Adams  ;  but  his 
death  occurred  in  the  interim  ;  and  the  Hon.  Robert  C.  Winthrop,  speaker  of  the  House 
of  Representatives,  was  chosen  to  deliver  an  address.  Invitations  were  sent  throughout 
the  Union,  requesting  that  the  States  be  represented  by  delegations,  "  with  banners  and 
other  insignia."  In  addition  to  the  invitations  which  were  sent  to  the  chief  civil  and 
military  officials,  this  compliment  was  extended  to  ex-presidents  and  other  distinguished 
persons,  among  whom  were  Martin  Van  Buren,  Millard  Fillmore,  Lewis  Cass,  G.  W.  P. 
Custis,  and  others.  Three  ladies,  widows  of  eminent  statesmen  who  were  conspicuous  in 
the  first  act  of  the  great  American  drama,  were  also  cordially  solicited  to  be  present  on 
the  auspicious  day.  They  were  Elizabeth  Hamilton,  Dorothea  Payne  Madison,  and  Louisa 
Francis  Adams.  Their  invitations  and  replies  were  all  published  in  "  The  Baltimore  Sun  " 
of  that  day's  issue,  and  a  copy  of  the  paper  was  deposited  in  the  corner-stone. 

Of  these  three  elegant  women,  whom  history  will  rank  with  the  grand  dames  of  the 
Old  World,  only  Mrs.  Hamilton  was  present.     The  recent  affliction  of  Mrs.  Adams,  and 


Busts,  Statues,  Monuments,  and  Medals.  2 1 5 


her  delicate  health,  debarred  her  from  the  gratification  of  attending.  Mrs.  Madison  grace- 
fully accepted,  but  was  unable  to  attend.  The  venerable  widow  of  Alexander  Hamilton 
said  in  her  note  of  acceptance,  — 

"  The  ceremony  in  which  I  am  invited  to  participate  calls  back  recollections  so  deeply  interesting 
to  me,  from  my  early  and  intimate  association  with  the  illustrious  man  to  whom  this  tribute  of  a 
nation's  gratitude  is  so  justly  due,  that  I  cannot  deny  myself  the  great  gratification  of  witnessing  it." 

She  was  then  in  her  ninety-first  year  ;  and  the  eyes  of  the  multitude  sought  eagerly 
for  a  glimpse  of  her  stately  form,  which  had  refused  to  bow  before  age,  as  her  courageous 
heart  had  not  yielded  in  early  life  to  affliction.  In  the  carriage  with  her  were  her  daugh- 
ter (Mrs.  Holly),  Gen.  Walter  Jones,  and  George  Washington  Parke  Custis.  Mr.  Custis 
wore  the  sword  which  Washington  had  borne  at  Cambridge  and  Charlestown  Heights,  on 
the  hilt  of  which  was  inscribed  "  1775."  This  sword  (with  several  others  to  his  nephews) 
was  bequeathed  to  his  adopted  son  by  the  general,  with  this  injunction  :  "  not  to  unsheath 
them  for  the  purpose  of  shedding  blood,  except  it  be  for  self-defence,  or  in  defence  of 
their  country  and  its  rights  ;  and  in  the  latter  case  to  keep  them  unsheathed,  and  prefer 
falling  with  them  in  their  hands  to  the  relinquishment  thereof." 

Extensive  preparations  were  made  for  the  accommodation  of  visitors  ;  and  Mr.  Petti- 
bone  generously  superintended  the  arrangement  of  tents,  seats,  and  booths  in  the  area 
surrounding  the  site  for  the  day's  ceremony.  For  nearly  a  week,  guests  had  arrived  at 
the  capital  from  all  parts  of  the  Union.  The  day,  which  had  been  dreaded  on  account 
of  anticipated  heat,  was  breezy  and  pleasant. 

The  procession  formed  on  Pennsylvania  Avenue,  and  was  chiefly  military.  The  post 
of  honor  was  given  to  a  few  of  the  surviving  soldiers  who  had  shared  in  the  struggle 
for  independence;  then  came  the  veterans  of  1812;  and  .following  them  were  hundreds 
of  those  whose  services  in  the  Mexican  War  had  just  ended.  At  the  head  of  the  proces- 
sion were  the  President  and  his  cabinet,  who  were  followed  by  sixty  different  bodies, 
associations,  and  societies,  —  a  magnificent  display  of  civil  and  military  deputations, — lodges 
of  Masons,  Odd-Fellows,  and  Sons  of  Temperance  ;  fire-companies  ;  State  delegations  ; 
members  of  the  diplomatic  corps  ;  chiefs  of  the  Cherokee,  Choctaw,  Creek,  and  Sawbridge 
Indians  ;  and  an  immense  number  of  citizens  ;  the  whole  forming  the  grandest  procession 
which  had  then  been  seen  on  this  continent.  The  last  in  the  line  were  the  officers  and 
members  of  "  The  Washington  Monument  Society,"  to  whose  efforts  this  splendid  ovation 
was  mainly  due.  During  the  progress  of  the  cortege,  which  was  an  hour  passing  a  given 
point,  salutes  were  fired,  the  church-bells  were  tolled,  and  all  flags  were  displayed  at  half- 
mast.  The  scene  was  impressive,  and  well  illustrated  the  sentiments  of  veneration  called 
forth  by  the  memory  of  the  man  whom  the  nation  "  delighted  to  honor."    Triumphal  arches 


Original  Portraits  of  Washington. 


decorated  with  flowers  and  mottoes  spanned  the  avenue  and  the  entrance  to  "  Monument 
Place."  On  the  last  arch  was  placed  a  living  eagle  forty  years  of  age,  —  the  same  bird 
which  had  welcomed  Lafayette  to  Alexandria  almost  a  quarter  of  a  century  before.  After 
the  day's  ceremony,  it  was  presented  to  Monsieur  Vattemare  as  a  contribution  to  the 
National  Museum  at  Paris. 

The  exercises  began  with  a  prayer  by  the  Grand  Chaplain  of  the  Grand  Lodge  of 
Maryland,  followed  by  an  address  by  the  speaker  of  the  House.  Though  much  had  been 
anticipated  from  Mr.  Winthrop's  ability,  and  well-known  enthusiasm  for  the  character  of 
Washington,  it  is  probable  that  the  eloquent  orator  never  did  fuller  justice  to  his  native 
gifts,  his  scholarship,  or  his  heart,  than  in  this  effort.  He  doubtless  realized  that  such  an 
opportunity  did  not  often  occur  in  the  career  of  a  public  man.  "The  National  Monument 
Society"  issued  an  edition  of  this  chaste  oration,  a  paragraph  of  which  is  here  quoted:  — 

"Just  honor  to  Washington  can  only  be  rendered  by  observing  his  precepts,  and  following  his 
example.  Similitudine  decoremus.  He  has  built  his  own  monument,  and  those  who  come  after  us  in 
successive  generations  are  its  appointed  and  privileged  guardians.  This  wide-spread  republic  is  the 
true  monument  to  Washington.  Maintain  its  Independence.  Uphold  its  Constitution.  Preserve  its 
Union.  Defend  its  Liberty.  Let  it  stand  before  the  world  in  all  its  original  strength  and  beauty, 
securing  peace,  order,  equality,  and  freedom  to  all  within  its  boundaries,  and  shedding  light  and  hope 
throughout  the  world.  Washington  needs  no  other  monument.  Other  structures  may  fitly  testify 
our  veneration  for  him  :  this  alone  can  adequately  illustrate  his  services  to  mankind.  Nor  does  he 
need  even  this.  The  republic  may  perish.  The  wide  arch  of  our  grand  Union  may  fall  ;  star  by 
star  of  its  glories  may  expire ;  stone  after  stone  its  columns  and  its  Capitol  may  moulder  and  crum- 
ble ;  all  other  names  which  adorn  its  annals  may  be  forgotten  :  but  as  long  as  human  hearts  shall  any- 
where pant,  or  human  tongues  shall  anywhere  plead,  for  a  true,  rational,  constitutional  liberty,  those 
hearts  shall  enshrine  the  memory,  and  those  tongues  shall  prolong  the  fame,  of  Geo7'ge  Washington" 

The  Masonic  address,  next  in  order,  was  delivered  by  Grand  Master  Benjamin  B. 
French,  and  was  a  brief  but  fervent  and  finished  eulogy  upon  Washington  as  a  Mason. 
The  ceremony  of  the  consecration  of  the  stone  by  corn,  wine,  and  oil,  was  then  observed, 
with  the  impressive  Masonic  ritual,  —  a  ceremony  in  which  Washington  had  taken  part 
nearly  fifty-five  years  previous,  in  laying  the  corner-stone  of  the  national  Capitol,  Sept.  18, 
1793.  After  the  blessing  and  grand  Masonic  honors,  the  symbolic  tools  —  the  square,  the 
plumb,  and  the  level  —  were  solemnly  delivered  to  Robert  Mills,  the  architect. 

The  multitude  received  a  benediction,  and  then  slowly  dispersed.  A  brilliant  display 
of  fireworks  at  Monument  Place,  the  Navy  Yard,  and  the  Arsenal,  was  a  fitting  termina- 
tion to  the  Fourth  of  July,  1848.  Circles,  stars,  banners,  mottoes,  and  various  significant 
devices,  blazed  in  the  air ;  but  that  which  aroused  the  wildest  shout  of  enthusiasm  was 


Busts,  Statues,  Monuments,  and  Medals. 


the  last  piece,  which  presented  a  design  of  the  monument,  fort)'  feet  in  height,  across 
which,  in  glowing  flames  of  a  contrasting  color,  flashed  the  name  of  Washington. 

During  the  six  ensuing  years  the  work  on  the  monument  progressed  rapidly.  In 
1854  the  funds  of  the  society,  amounting  to  two  hundred  and  thirty  thousand  dollars, 
had  been  expended  ;  and,  their  efforts  to  collect  additional  means  not  proving  effective, 
they  appealed  to  Congress  for  a  sufficient  appropriation  to  complete  the  work.  This 
application  was  eloquently  presented  before  the  House  of  Representatives  by  Mr.  May  of 
Maryland,  Feb.  22,  1855  ;  and  the  two  hundred  thousand  dollars  voted  more  than  half  a 
century  previous  was  again  appropriated  by  the  House :  again  (through  an  unfortunate 
schism  or  rivalry  which  had  arisen  in  relation  to  the  management)  the  Senate  did  not 
concur  in  the  action  of  the  House. 

Meantime  an  equestrian  statue  answering  the  chief  demands  of  the  resolution  of  1783 
had  been  erected  by  the  Government,  and  placed  in  "  Washington  Circle."  A  change  of 
plan  in  conducting  the  management  of  the  monument  having  been  deemed  advisable, 
Congress,  Feb.  22,  1859,  granted  a  charter  to  "The  Washington  National  Monument 
Society."  Both  of  these  societies  have  done  faithful  work :  and  an  examination  into  the 
accounts  shows  that  their  officers  have  received  no  salaries,  but  have  freely  expended 
both  time  and  money ;  also  that  the  sums  donated  have  been  scrupulously  devoted  to 
the  purpose  intended. 

But  the  disagreements  of  managers  were  most  disastrous  in  result,  for  during  thirty- 
one  years  only  four  feet  were  added  to  the  height  of  the  monument ;  and  the  worst 
feature  in  this  crisis  was  the  loss  of  popular  faith  in  the  enterprise.  The  devoted  architect 
had  died,  and  scarcely  one  of  the  original  projectors  survived.  Enthusiasm  was  turned 
to  distrust,  praise  to  jeers  ;  and  the  unfinished  shaft  was  dubbed  "  the  nation's  disgrace." 
Every  thing  was  criticised,  —  the  obelisk  and  pantheon  were  declared  to  be  inharmonious, 
the  selection  of  the  site  a  blunder,  and  the  work  insecure.  Every  critic  had  a  est  at  the 
expense  of  the  towering  column  ;  every  artist  had  a  design  which  would  change  it  magi- 
cally to  a  "  thing  of  beauty."  So,  for  a  quarter  of  a  century,  the  monument  was  in  this 
crucible  of  criticism  and  abuse.  No  country  was  probably  ever  more  utterly  dissatisfied 
with  a  national  memorial. 

But  another  stage  in  this  "strange,  eventful  history"  was  reached  in  a  resolution  of 
the  House  of  Representatives,  Jan.  13,  1874,  "that  a  committee  be  appointed  to  confer 
with  '  The  National  Monument  Society '  upon  the  practicability  of  completing  the  Wash- 
ington Monument  by  the  approaching  centennial  year."  The  adoption  of  the  resolution 
was  eloquently  advocated  by  Messrs.  Chipman,  McCormick,  Ward,  Storm,  Sener,  and 
S.  S.  Cox  of  the  House  of  Representatives  ;  and  a  committee  was  appointed.  The  com- 
mittee recommended  an  appropriation  of  two  hundred  thousand  dollars,  and  also  advised 


218 


Original  Portraits  of  Washington. 


that  a  thorough  examination  of  the  condition  of  the  work  should  be  made  under  the 
order  of  the  secretary  of  war.  To  Lieut.  William  L.  Marshall  of  the  First  Corps  of 
Engineers  was  assigned  this  responsible  duty.  The  result  of  the  examination  was  satis- 
factory as  far  as  the  solidity  of  the  work  was  concerned,  though  it  was  deemed  advisable 
to  strengthen  the  foundation,  and  to  lessen  the  height  of  the  shaft.  It  was  estimated, 
that,  if  the  work  could  be  vigorously  prosecuted  from  that  date,  the  monument  would 
be  complete  by  July  4,  1876;  and  that,  on  the  centennial  anniversary  of  the  birth  of 
the  republic,  the  people  could  dedicate  with  fitting  ceremonial  a  national  tribute  to 
Washington. 

Another  delay  in  the  work  ensued  which  it  is  not  easy  to  understand  ;  and  no  visible, 
or  at  least  rapid,  advance  was  made.  There  was  so  much  discussion,  and  so  great  discon- 
tent, in  regard  to  the  obelisk,  that  suggestions  were  made  to  tear  it  down,  and  adopt  a 
more  artistic  design  ;  and  it  was  soon  evident  that  it  could  not  be  finished  by  1876. 

Aug.  2,  1876,  the  Forty-fourth  Congress  appointed  a  "Joint  Commission  for  the 
completion  of  the  Washington  Monument,"  composed  of  the  former  society,  officers  of 
the  army,  and  citizens.  W.  W.  Corcoran  of  Washington,  D.C.,  was  made  chairman  of 
this  commission. 

June  14,  1878,  a  portion  of  the  money  heretofore  appropriated  was  ordered  to  be 
used  in  strengthening  the  foundation  ;  which  work,  under  the  direction  of  Col.  Thomas 
Lincoln  Casey,  U.S.A.,  was  completed  in  the  summer  of  1880.  "  The  Washington  Evening 
Star "  of  Aug.  7  gives  the  following  account :  — 

"  To-day,  about  eleven  o'clock,  the  first  stone  in  the  work  of  completing  the  shaft  of  the  Wash- 
ington National  Monument  was  laid  on  the  north-east  corner  of  the  shaft,  and  the  work  will  now  be 
rapidly  pushed  forward.  After  the  foundation  had  been  strengthened  by  the  underpinning,  it  was 
found  that  since  the  work  stopped,  in  1854,  about  three  courses  of  stone  on  top  of  the  unfinished 
shaft  had,  by  the  action  of  the  elements,  scaled  somewhat,  and  the  mortar  had  disintegrated.  These 
courses  were  therefore  ordered  by  Col.  Casey  to  be  taken  down,  and  were  lowered  to  the  ground  to 
be  used  hereafter  in  the  backing.  This  reduced  the  height  of  the  marble  pile  as  it  stands  to  a  hun- 
dred and  fifty  feet.  Yesterday  several  stones  were  hoisted  by  the  elevator  to  the  top  of  the  shaft ; 
and  Col.  Casey,  in  charge,  invited  the  President  and  Mrs.  Hayes  to  be  present  at  the  laying  of  the 
first  one  to-day.  This  invitation  was  accepted  by  President  Hayes  ;  and  about  half-past  ten  o'clock, 
accompanied  by  Col.  Casey,  Capt.  Davis,  Dr.  J.  M.  Toner,  and  Dr.  J.  B.  Blake,  and  several  others, 
the  party,  entering  the  east  door,  took  seats  in  the  elevator,  and  in  a  short  time  were  at  the  top  of 
the  monument.  Here  the  magnificent  view  was  enjoyed  for  a  few  minutes,  and  the  machinery  for 
moving  the  stone  examined,  as  also  the  draft  of  plan  for  course  of  stone  next  to  be  laid.  The 
President,  Col.  Casey,  Capt.  Davis  (of  the  Fourteenth  Infantry),  and  others  of  the  party,  in  anticipa- 
tion of  the  laying  of  the  stone,  had  some  coin  marked  with  their  initials,  and  the  day,  month,  and 
year,  to  place  under  it.    For  want  of  time  to  do  the  stamping,  one  or  two  of  them  were  marked  '  8-7,' 


Busts,  Statues,  Monuments,  and  Medals.  2 1 9 


for  the  number  of  the  month  and  the  clay,  suggesting  again  the  vote  of  the  electoral  commission. 
This,  however,  did  not  seem  to  occur  to  any  one  until  after  the  stone  was  set.  At  a  few  minutes 
before  eleven  o'clock,  a  bed  of  mortar  having  been  laid  on  the  corner,  the  stone  was  attached  to  one 
of  the  derrick-arms,  raised,  and  moved  to  its  place;  but,  before  it  was  set,  President  Hayes  stepped 
forward,  and  laid  his  coin  in  the  centre  of  the  cement,  Col.  Casey,  Capt.  Davis,  and  others  depositing 
their  coins  after  him.  At  fifty-nine  minutes  past  ten  the  stone  —  six  feet  in  length,  and  two  feet 
wide  and  deep  —  was  set  in  its  place.  In  strengthening  the  foundation,  the  deflection  of  the  shaft  — 
an  inch  and  a  half  north,  and  three-eighths  of  an  inch  east — was  remedied,  and  the  shaft  is  now 
plumb.  It  will  probably  take  a  week  to  lay  the  first  course  of  stone  ;  but,  after  the  workmen  get 
familiar  with  the  work,  it  is  expected  that  they  will  lay  three  courses  or  more  per  week,  and  that  it 
will  take  about  four  years  to  finish  it.  There  are  at  present  a  hundred  and(  thirty-three  men 
employed  on  the  work,  forty-two  being  stone-cutters.  Col.  Casey  is  in  full  charge  of  this  work, 
Capt.  Davis  being  his  assistant ;  and  Mr.  McLaughlin  is  the  general  superintendent.  They  will 
push  the  work  on  as  rapidly  as  possible. 

"  In  removing  the  three  upper  courses  of  stone,  the  fine  block  from  the  city  of  Baltimore, 
marked  '  1850,'  was  found  to  be  the  only  stone  uninjured,  and  was  left  in  its  place.  As  it  has  been 
determined  to  hereafter  use  the  other  memorial  stones  by  cutting  tablets  off  their  lettered  faces,  to 
be  inserted  in  niches  in  the  inner  wall,  the  Baltimore  stone  will  thus  be  highest  of  the  stones  used 
in  original  form." 

The  original  design  of  the  monument  was  a  white  marble  obelisk,  seventy  feet  square 

at  the  base,  forty  feet  square  at  the  apex,  and  rising  to  the  height  of  six  hundred  and 

ten  feet.    The  grand  circular  pantheon  at  the  base  was  to  be  two  hundred  and  fifty  feet 

in  diameter,  and  one  hundred  feet  high.    The  rotunda  surrounding  the  base  was  to  be 

encircled  by  thirty  massive  columns,  surmounted  by  an  entablature  twenty  feet  in  breadth, 

« 

and  finished  with  a  balustrade  fifteen  feet  high.  From  the  centre  of  the  rotunda  rose  the 
gigantic  obelisk,  almost  imperceptibly  diminishing  in  diameter  to  the  apex.  It  was  after- 
wards determined  to  dispense  with  the  grand  pantheon,  and  to  substitute  a  terrace  of 
seventeen  feet  elevation,  and  two  hundred  feet  square. 

The  summit  of  the  shaft  was  to  be  reached  by  a  square  stairway,  and  at  each  turn 
was  to  be  placed  a  block  of  marble  contributed  to  the  National  Washington  Monument. 
These  blocks,  sent  by  almost  every  State  in  the  Union,  —  by  Indian  tribes,  Masons,  Odd- 
Fellows,  Temperance  and  other  societies,  schools,  individuals,  and  by  foreign  governments, 
—  make  by  far  the  most  magnificent  tribute  ever  offered  to  the  memory  of  man.  Tyrants 
of  old  forced  their  prisoners-of-war  to  build  pyramids,  which  have  perpetuated  their 
names  ;  cities  have  borne  the  names  of  other  conquerors  down  the  stream  of  time  ;  gov- 
ernments have  adopted  the  appellations  of  heroes ;  nations  have  reared  statues,  columns, 
temples,  and  mausoleums  to  their  great  dead :  but  the  World  unites  in  this  offering  to 
Washington. 


220 


Original  Portraits  of  Washington. 


The  determination  to  retain  the  original  design  on  the  part  of  those,  who,  through 
years  of  devotion,  had  shown  their  approval  of  it,  was  only  partially  successful  ;  but  if 
finished  as  at  present  proposed,  with  a  reduction  of  ninety  feet  in  height,  it  will  still  be 
a  massive  column,  and  the  loftiest  in  the  world.  What  changes  will  yet  be  made  in  the 
monument,  or  what  inscriptions  may  hereafter  be  adopted,  cannot  be  conjectured  ;  as  at 
this  stage  of  its  erection  it  is  difficult  to  anticipate  what  it  will  be  when  finished. 
Various  devices  in  statuary  and  bas-relief  were  included  in  the  original  plan,  compris- 
ing a  history  in  imperishable  marble,  not  only  of  Washington,  but  of  the  men  who 
stood  by  his  side  in  the  sanguinary  struggle  of  the  Revolution  ;  but  all  this  is  subject 
to  change  and  the  touch  of  passing  generations.  Mr.  Larkin  G.  Mead,  the  sculptor, 
who  is  now  in  Florence,  some  years  ago  made  a  proposition  to  embellish  the  monument 
by  four  bronze  panels  on  the  sides  of  the  shaft,  near  the  base,  giving  bas-relief  repre- 
sentations of  scenes  marking  epochs  in  Washington's  life.  Mr.  Mead  has  already  made 
designs  in  clay  for  two  of  these  panels.  The  first  represents  the  surrender  of  Cornwallis. 
The  second  has  just  been  completed ;  and  Mr.  Mead  has  sent  a  photograph  of  the 
design  to  the  Monument  Association.  It  represents  the  inauguration  of  Washington  on 
the  portico  of  the  old  custom-house  in  New  York.  The  proposition  to  place  these 
panels  on  the  sides  of  the  shaft  has  met  with  some  favor,  though  no  official  action  was 
taken. 

It  is  not  intended  that  the  expenditure  shall  exceed  a  million  and  a  half  of  dollars  ; 
and  this  must  be  from  time  to  time  appropriated  by  Congress,  as  concerted  action  in 
other  ways  seems  impracticable.  Although  California  collected  fifteen  thousand  dollars  at 
one  election,  and  the  Legislature  of  New  York  once  voted  ten  thousand  dollars,  such 
sources  are  too  uncertain  to  be  relied  upon. 

The  work,  under  the  management  of  the  Commission,  goes  steadily  on ;  but  the 
tedious  official  record  need  not  be  given.  The  chairman,  Mr.  W.  W.  Corcoran,  who  for 
"sweet  charity's  sake"  has  builded  to  his  own  name  so  many  monuments,  is  giving  a 
portion  of  the  evening  of  his  days  to  this  national  work.  The  following  report  on  July 
15,  1 88 1 ,  shows  progress  up  to  that  date:  — 

"  The  shaft  is  now  two  hundred  and  twenty-seven  feet  high,  sixty  feet  having  been  added  since 
the  work  was  resumed.  It  is  expected,  that,  before  the  1st  of  January  next,  at  least  forty  feet  more 
will  be  added  to  its  height." 

In  September  of  this  year  the  authoritative  announcement  is  made,  — 

"That  the  setting  of  course  230  on  the  Washington  Monument  has  been  finished,  making  a  net 
addition  to  the  height  of  the  monument,  since  the  work  of  construction  was  resumed,  of  eighty  feet. 


Plate  XXXI 


THIS  HEAD  WAS  carved  between 
2000  AND  30CJO  YEARS  AGO  3.Y  THE. 
ANCIENT     EGYPTIANS  rOR-THt 

temple  erected  inhqmokof 
Augustus. on  the  banks oftv* 

N.ILE  .  BROUOHT  FROM  THEREBY 
L.A.LEHMAN  AND  PRESENTER  To 
THE    WASHINGTON       MONUMENT  . 

165b. 


tvJiHr,  marble  with  fts/ntf  of  /7rctr/  Ofsrrti Sr 
./•:«.>•/   /Ml    '  • 


/ff/X  //X  in.. 


BR  I  CKS 

^    fl.  O  M        T  h,  £ 


Bl  KTH  PL  AGE   of  WASHINGTON 


THE  Grand  lodge: 
of 

1.6.    of  QT. 

O  F 

KENTUCKY 


IN    UNION  THERE    IS  STRENGTH 


Zafrictit 


CH RRL  LS  T  O  W  H 

the: 

Bunked  Hill  BflTTLS.  &flouN  d 


I 

V  5 


ALL  THAT   LIVE    MUST     D I  F_ 


A  TRIBUTE   OF  RESPECT 
FRONV  THE    LADIES   Ano  CtLNTLEMEN  ..ft« 
DRAMATIC     PROFESSION  oi  AME.P.ICN 
I  853 


V  it 


|V|  EMDr^lAL  Bin  CKp  . 
Wasjh  i  n  gton  Rational  JvfoN  u^ient  . 

See  Page  221. 


Busts,  Statues ■,  Monuments,  and  Medals.  221 


The  last  four  courses,  each  weighing  a  hundred  and  seventy  tons,  have  been  laid  at  the  rate  of  a 
square  every  two  days.  The  iron-work  and  machinery  will  now  be  shifted,  when  the  work  of 
laying  stone  will  be  prosecuted  to  course  250,  where  it  will  be  necessary  to  make  another  '  shift.' 
There  are  one  hundred  stone-cutters  at  work  ;  and  it  is  probable,  that,  before  the  work  closes  for 
the  season,  the  monument  will  have  reached  two  hundred  and  sixty  feet. 

CONTRIBUTIONS   OF   MEMORIAL  BLOCKS  TO  THE  WASHINGTON   MONUMENT,  WITH  THEIR 

SYMBOLS  AND  INSCRIFriONS.1 

ALABAMA. 

White  marble.    "  Alabama.    A  union  of  equality,  adjusted  by  the  constitution." 

White  marble,  lettered  in  black,  and  ornamented  with  the  seal  of  the  Grand  Lodge.  "Alabama  marble. 
Presented  by  the  Most  Worshipful  Grand  Lodge,  Ancient  Free  and  Accepted  Masons  of  the  State  of  Ala- 
bama, to  the  National  Monument  Society.    Dec  6.  A.L.  5849."    (West  wall,  48  X  24.) 

ARKANSAS. 

Red  marble.    "  Arkansas." 

Granite.    (East  wall,  48  X  24.)    "Little  Rock,  Arkansas." 

White  marble,  with  Masonic  emblems.  "The  Grand  Lodge  of  American  Free  Masons  of  the  State  of  Arkansas. 
Ad  gloriam  Fratris  nostri  et  Patris  Patriae."    (Lapidarium,  48  X  24.) 

CALIFORNIA. 

Black-and-white  moitled  marble.  "  California,  youngest  sister  of  the  Union,  Brings  her  Golden  tribute  to  the 
Memory  of  its  father." 

Granite.  "The  citizens  of  Stockton  San  Joaquin  County  California.  A  Tribute  of  Respect  to  The  Father  of  his 
Country.  —  George  Washington."    [Thirteen  stars.]    "1859."    (Lapidarium,  47X53.) 

CONNECTICUT. 

White  marble.  "  From  the  Grand  Division  of  Sons  of  Temperance,  State  of  Connecticut.  A  tribute  to  the 
memory  of  Washington."    Triangle,  with  the  "All-seeing  Eye."    (East  wall,  48  X  24.) 

Brownstone,  with  the  State  coat-of-arms  and  motto,  "  Qui  transtulit  sustinet."  "  Connecticut."  (East  wall, 
48  X  24.)    Badly  disintegrated  on  surface. 

DELAWARE. 

1 

Wliite  marble,  with  a  panel  of  gray  granite,  on  which  is  a  head  of  Washington  in  bas-relief.  "  Delaware.  First 
to  adopt  —  The  last  to  desert  The  Constitution.    1849."    (East  wall,  60X48.) 

1  Of  the  hundred  and  eighty  blocks,  nearly  one-half  have  been  placed  in  the  monument.  This  list  was  made 
under  difficulties,  but  is  as  nearly  as  possible  correct. 


222  Original  Portraits  of  Washington. 


DISTRICT  OF  COLUMBIA. 

White  marble.    "The  city  of  Washington  to  its  Founder."    (West  wall,  72  X  34-) 

Light-gray  marble.    "  Presented  by  the  Association  of  the  Oldest  Inhabitants  of  the  District  of  Columbia  July 

4th  1870."    (Lapidarium,  48  X  24.) 
White  7iiarble,  with  the  inscription  in  raised  letters,  "Chairman  of  the  Building  Committee  from  the  foundation  to 

this  height, —  100  feet."    Thomas  Carbery.    (South  wall,  42  X  24.) 
White  marble.    "Presented  by  the  Columbia  Typographical  Society,  Instituted  January,  1815,  as  a  memento  of  the 

veneration  of  its  members  for  the  Father  of  his  Country."    (West  wall,  60  X  24.) 
White  marble.    "  Presented  by  the  German  Benevolent  Society  of  the  city  of  Washington,  D.C.  instituted  Oct. 

3rd,  1836,  incorporated  July  27th,  1842,  —  as  a  memento  of  the  veneration  of  its  members  for  the  Father  of 

his  Country."    (West  wall,  54  X  24.) 
White  marble,  with  Masonic  emblems,  and  the  inscription  in  black  letters,  "  Presented  by  Washington  Naval 

Lodge  Ancient  Free  Masons." 
Potomac  bluestone.    "Peter  Force."    (East  wall,  52  X  24.) 

Wliite  marble.    "Presented  by  the  Franklin  Fire  Company,  of  Washington,  D.C.     Instituted  A.D.  1827.  We 

strive  to  save."    (East  wall,  53  X  24.) 
White  marble,  with  Masonic  emblems.    "Grand  Lodge  of  Masons,  District  of  Columbia,  to  our  Brother,  George 

Washington."    (East  wall,  64  X  24.) 
White  marble.    "Presented  by  the  National  Greys,  of  Washington,  D.C."    (East  wall,  60  X  24.) 
Gray  sandstone.    "  Presented  by  George  Watterson,  Sec?  W.  N.  Monumental  Society,  as  a  testimonial  of  his 

gratitude  and  veneration  A.D.  1849."    (East  wall,  48  X  24.) 
Rough  bluestone:  "  muds  tone."    "Little  Falls  Quarry,  District  of  Columbia.     Presented  by  Timothy  S.  Neal." 

(East  wall,  68  X  22.) 

White  marble.    Inscription  in  black  letters,  "Washington  Light  Infantry,  Washington,  D.C.    Organized  Sep.  12th 

1836.    Presented  Oct.  19th  1850."    (East  wall,  60  X  24.) 
Dark  marble.    "  Presented  by  the  Anacostia  tribe  No.  3.  I.  O.  R.  M.  —  D.C.  —  on  the  3rd  sun  of  the  3  X  7  suns> 

warm  moon.    G.S.  5610. 

Marble.    "Presented  by  Tuscarora  Tribe  No.  5,  Improved  Order  of  Red  Men.     D.C.    To  Pater  Patriae  7th  sun 
Hunting  moon.    Grand  sun  5615." 

FLORIDA. 

Block,  ornamented  with  a  globe. 

Coarse  white  marble,  with  a  square  and  compass  in  bas-relief.    "Presented  by  the  Grand  Lodge  of  the  State 

of  Florida."    (Lapidarium,  58  X  28.) 
Dark  marble.    Coat-of-arms  in  a  circle.    Motto :  "  Florida  sees  in  His  counsels  safety,  In  His  life  an  Example, 

In  his  Memory  a  perpetual  Bond  of  Union."    (West  wall,  48  X  24.)    (Face  of  stone  badly  disintegrated.) 

GEORGIA. 

While  marble,  with  State  coat-of-arms.    "State  of  Georgia.    The  Union  as  it  was,  —  The  Constitution  as  it  is." 
Wliite  marble,  with  State  coat-of-arms.    "Georgia  Convention,  Dec.  1850."    (Removed  from  east  wall,  42  X  24.) 
White  marble,  with  a  shield  bearing  Masonic  emblems.     "Grand  Lodge  of  Georgia.     Founded  A.D.  1785. 
"  Prosunt  omnibus  —  Fratrem  meminisse."    (East  wall,  48  X  24.) 


» 


Busts,  Statues,  Monuments,  and  Medals. 


223 


ILLINOIS. 

Gray  mottled  marble,  with  inscription  in  black  letters,  "Illinois.  State  Sovereignty,  National  Union."  (East  wall, 
48  X  24.) 

White  marble,  with  bas-relief  carving,  showing  figures  beneath  an  arch.  A  broken  column.  Peace  with  an 
olive-branch,  and  Time  with  hour-glass  and  scythe.  Inscription  in  black  letters  :  "  Masonic  Grand  Lodge  of 
Illinois.    1853."    (West  wall,  56  X  25.) 

White  marble,  with  a  ring  and  open  book,  crossed  sword,  keys,  and  other  emblems.  Inscription  :  "  Presented  by 
the  Grand  Division  on  behalf  of  the  Sons  of  Temperance,  of  111.    Jan.  1.  1858."    (Lapidarium,  54  X  37-) 

INDIANA. 

Redstone.    "Indiana  knows  no  North — no  South  —  Nothing  but  the  Union."    (East  wall,  48  X  24.) 

Dark  marble.    "Nov.  12th,  1852.    From  the  Postmasters  and  Asst.  Postmasters  of  the  state  of  Indiana.  Dedicated 

to  Washington  Monument.     Washington.     May  his  Principles  be  distributed  Broadcast  over  the  Land,  and 

every  American  be  a  D.  P.  O."    (East  wall,  48  X  24.) 
Mottled  marble,  with  Odd-Fellows'  emblems.     Inscription   in  black  letters :    "  R.   \V.  Grand  Lodge  I.  O.  O.  F. 

Indiana.    In  God  we  trust.    Constitutional  Liberty.    The  earth  for  its  Domain,  and  eternity  for  its  Duration." 

(West  wall,  48  X  24.) 

IOWA. 

Fine-grained  drab  sandstone.  "  Iowa.  Her  affections  like  the  Rivers  of  her  Border,  flow  to  inseparable  Union." 
(East  wall,  48  X  28.) 

Pink  mottled  marble.    "Grand  Lodge  of  Iowa,  A.F.  and  A.M.  1876."    (Lapidarium,  47  X  32.) 

KENTUCKY. 

Light  cream-colored  sandstone,  with  State  coat-of-arms.    "  Under  the  auspices  of  Heaven,  and  the  precepts  of 

Washington,  Kentucky  will  be  the  last  to  give  up  the  Union."    (West  wall,  84  X  40.) 
Yellow  marble,  with  Masonic  emblems.    "  By  the  Grand  Lodge  of  Kentucky  to  the  memory  of  Washington,  The 

Christian  Mason."    (East  wall,  48  X  24.) 
Gray  marble,  with  fasces  on  either  side.    "  The  Grand  Lodge  of  I.  O.  O.  F.  of  Kentucky.    In  Union  there  is 

strength."    (Lapidarium,  53  X  30.) 
White  marble,  with  head  of  Washington  in  bas-relief,  surmounting  a  harp,  and  numerous  military  emblems.  "To 

the  Father  of  his  country.     The  Addisonian  Literary  Society  of  the  Western  Military  Institute,  Kentucky. 

Non  nobis  solum,  sed  Patriae  et  amicis."    (Lapidarium,  48  X  37.) 

LOUISIANA. 

White  marble,  with  State  coat-of-arms.  "  The  state  of  Louisiana.  Ever  faithful  to  the  Constitution  and  the  Union." 
(In  lapidarium,  47  X  23.) 

White  marble,  with  State  seal.  "Continental  Guard  of  New-Orleans,  La.  to  the  Washington  Monument.  22nd 
Feb.  1856."  The  names  of  the  members  of  the  guard  are  also  inscribed  on  the  tablet.  (Lapidarium, 
50  X  5i-) 


224 


Original  Portraits  of  Washington. 


MAINE. 

Polished  granite.    Inscription,  "MAINE."    (East  wall,  48- X  24.) 

Dark  gray  marble,  light  veins.    "From  Home  of  Knox.    By  citizens  of  Thomaston,  Maine."    (East  wall,  48  X  34.) 

MARYLAND. 

White  marble,  with  State  coat-of-arms  in  the  centre.  Inscription  in  raised  black  letters  :  "  Maryland.  The  Memo- 
rial of  her  regard  for  the  Father  of  his  Country,  and  of  her  cordial,  habitual  and  immovable  attachment  to 
the  American  Union." 

White  marble,  with  Masonic  emblems.  "  By  the  Grand  Lodge  of  Ancient  Free  and  Accepted  Masons  of  Mary- 
land, 1850."    Names  of  the  members  on  either  side.    (East  wall,  48  X  24.) 

White  marble,  with  a  carved  eagle  bearing  a  scroll.  "  Grand  Lodge  of  Maryland  I.  O.  O.  F.  Friendship,  Love 
and  Truth,  1850."    (Lapidarium,  73  X  36.) 

White  marble,  bearing  a  Roman  cross.  Inscription  in  black  letters:  "To  George  Washington,  by  the  Maryland 
Pilgrims  Association.    Organized  Bait0.  1847."    (West  wall,  48  X  24.) 

White  marble,  with  Ionic  column  in  the  centre,  a  cedar-tree  on  the  right,  and  a  monument  and  urn  on  the  left. 
Inscription  in  raised  black  letters  :  "  To  the  Father  of  his  Country.  Presented  by  the  Independent  Order  of 
United  Brothers,  State  of  Maryland.    A.D.  185 1."    (West  wall,  48  X  24.) 

White  marble,  with  an  eagle  displayed  above  the  harp  of  Erin.  "  Hibernian  Society  of  Baltimore.  E.  Pluribus 
Unum.    Memor  et  Fidelis."    (Lapidarium,  48  X  37.) 

Polished  granite,  with  the  Washington  Monument  in  Baltimore  carved  in  relief,  and  surrounded  by  other  symbols. 
Inscription  in  black  letters:  "By  the  City  of  Baltimore.  1856.  May  Heaven  to  this  Union  continue  its 
beneficence.  May  brotherly  affection  with  union  be  perpetual.  May  the  free  Constitution  which  is  the  work 
of  our  Ancestors  be  sacredly  maintained,  and  its  administration  be  stamped  with  wisdom  and  with  virtue." 
(West  wall,  75  X  73-) 

Clouded  marble.  "  By  the  Pupils  of  the  Public  Schools  of  the  City  of  Baltimore.  M.D.  C.C.C.  L.I.  Number  of 
Public  schools,  35  ;  number  of  pupils,  7500.    Palmam  qui  meruit  ferat."    (Lapidarium,  48  X  24.) 

Maryland  granite.  "  Patmos  Lodge,  No.  70.  Masons.  Ellicotts  Mills.  Md.  Feb.  22nd  1852."  (West  wall, 
48  X  28.) 

White  marble,  with  an  ark,  and  dove  bearing  an  olive-branch,  in  bas-relief.  "  From  the  City  of  Frederick, 
Maryland.  Civil  and  Religious  Liberty  first  proclaimed  by  the  Pilgrim  Fathers  of  Maryland,  —  as  emblemed  in 
the  Ark  of  the  Covenant  of  Freedom,  and  the  Dove,  the  Harbinger  of  Peace  and  Fellowship,  that  guided 
them  through  the  dangers  of  the  deep,  —  have  been  secured  as  the  Birthright  of  the  Nation,  by  the  enduring 
seal  of  the  Minister  of  Justice,  George  Washington."    (West  wall,  48  X  24.) 

MASSACHUSETTS. 

Dark  granite,  with  State  coat-of-arms.    "Massachusetts."    (East  wall,  72  X  71.) 

Gray  granite,  from  Bunker  Hill,  with  the  Bunker-Hill  Monument  in  bas-relief.    (53  X  41-) 

Granite,  veined  with  green.     Inscription  in  black   letters :  "  City  of  Roxbury,  Mass.    The  Birthplace  of  Gen. 

Joseph  Warren."    (West  wall,  48  X  24.) 
Gray  granite.    "Salem,  Mass."    (Lapidarium,  57X28.) 

Mottled  granite,  with  a  whale  in  bas-relief.    "New-Bedford,  Mass.  185 1."    (Lapidarium,  48X24.) 


Busts,  Statues,  Monuments,  and  Medals,  225 

Granite.    "  From  the  ladies  of  Lowell,  Mass. 

'  Here  Industry  her  grateful  tribute  pays 
To  him  whose  valor  won  us  prosperous  days.'" 

(Lapidarium,  48  X  24.) 

Granite.     "  Sicut  Patribus  sit  deus  nobis.     Bostonia  condita  A.D.  1630.    Civitatis  regimine  donata  A.D.  1822." 
(Lapidarium,  55  X  42.) 

Granite.    "Washington  Lodge  of  F.  and  A.  M.  Roxbury,  Mass.    (In  lapidarium,  48  X  24.) 
IV/iite  marble,  with  Odd-Fellows'  emblems.    "  I.  O.  O.  F.  Massachusetts."    (East  wall,  30X24.) 
Granite.     Inscription  on  a  shield:    "First  Regiment  of  Light  Infantry,  Mass.  Vol.   Militia.     Boston.  1853." 
(Lapidarium,  30  X  53.) 

MICHIGAN. 

Block  of  native  copper  two  feet  long  by  twenty-one  inches  and  a  half  wide,  and  eleven  inches  and  a  half  thick. 

Handsomely  cut  and  polished,  and  bearing  the  State  coat-of-arms,  with  the  inscription  embossed  in  silver : 

"Michigan.    An  emblem  of  her  trust  in  the  Union." 
Native  copper  from  Lake  Superior,  weighing  twenty-one  hundred  pounds.    (In  lapidarium,  36  X  22.) 

MINNESOTA. 

Red  pipe-clay,  considered  a  sacred  stone  by  the  Indians  of  that  State.    "Minnesota."    (In  lapidarium,  24  X  21.) 

MISSISSIPPI. 

White  marble.    "The  state  of  Mississippi  to  the  Father  of  his  Country."    (East  wall,  48  X  24.) 
Gray  marble,  with  Masonic  emblems.     "The  Grand  Lodge  of  the  state  of  Mississippi  To  their  W.  Brother, 
George  Washington." 

Coarse-grained  sandstone.    "Oakland  College  Mississippi — 185 1."    (East  wall,  56  X  24.) 

Graystone,  with  three  links  in  bas-relief.    "  I.  O.  O.  F.  Grand  Lodge  of  Mississippi."    (Lapidarium,  48  X  24.) 

MISSOURI. 

Polished  marble.    "The  Tribute  of  Missouri  to  the  Memory  of  Washington,  and  a  Pledge  of  her  Fidelity  to  the 
Union  of  the  States.    (East  wall,  48  X  24.) 

NEW  HAMPSHIRE. 

Polished  granite.    "  New-Hampshire." 

Granite.    "From  the  Home  of  Stark.    By  the  Ladies  of  Manchester." 
Granite.    "Durham.    New-Hampshire."    (East  wall,  72  X  24.) 

NEW  JERSEY. 

Brownstone,  with  State  coat-of-arms.     "New-Jersey.     Trenton,  Dec.   26,  1776.  —  Princeton,  Jan.   3,   1777-  — 

Monmouth,  Jan.  28,  1778  —  Springfield,  Jan.  23,  1780." 
Sandstone,  bearing  hands  clasped  above  an  Irish  harp,  and  an  eagle.    "Newark  N.J.  Washington  Erina  Guard." 

(Lapidarium,  48  X  94.) 
Brownstone,  with  coat-of-arms.    "  Newark.    N.J."    Classic  symbols.    (East  wall,  48  X  24.) 


226 


Original  Portraits  of  Washington. 


White  marble,  with  a  society  badge  of  Princeton  College.    "American  Whig  Society.    A  tribute  to  Washington." 

Badly  broken.    (East  wall,  48  X  24.) 
Brownstone,  with  Odd-Fellows'  emblems.     "  Grand  Lodge  of  the   Independent  Order  of  Odd  Fellows  of  the 

State  of  New-Jersey,  To  the  Memory  of  Washington,  The  Father  of  his  Country.    We  command  you  to  raise 

the  sick,  relieve  the  distressed,  bury  the  dead,  and  educate  the  orphan."    (West  wall,  48  X  24.) 
Sandstone,  marble  tablet.    A  bust  of  Washington  and  the  society  symbols,  an  altar,  on  which  are  the  caduceus 

and  the  inscription  :  "  Instituted  A. D.  1765.    From  the  Cleosophic  Society,  Nassau  Hall,  N.J.    To  the  Memory 

of  Washington."    (Lapidarium,  66  X  37-) 

NEW  YORK. 

Black  marble,  with  State  coat-of-arms.    "New  York."    (In  lapidarium,  58  X  41.) 

Marble,  with  coat-of-arms.    "Corporation  of  the  City  of  New  York,  1852."    (East  wall,  96  X  66.) 

Black  granite.    "From  the  Battle  Ground,  Long  Island,  1776.    Kings  County  N.Y.  1853."    (East  wall,  72  X  24.) 

Black  granite.    "  From  Fort  Greene  Battle  Ground,  Long  Island.    A  tribute  from  the  Fort  Greene  Guard  of 

Brooklyn.    1854."    (East  wall,  72  X  24.) 
Dark  7narble,  with  Masonic  emblems.    "The  Grand  Lodge  of  Free  and  Accepted  Masons  of  the  State  of  New 

York."  (Lapidarium.) 

White  marble,  with  Masonic  emblems.  "Washington  Lodge,  No.  21  of  the  City  of  New  York.  Instituted 
A.L.  5800."    (East  wall,  48  X  24.) 

Wliite  marble,  with  the  "  All-seeing  Eye."  "Presented  by  Athenian  Lodge  268.  I.  O.  O.  F.  Troy,  N.Y."  (Lapida- 
rium, 37  X  21.) 

Light-gray  marble.  "Presented  by  Eureka  Lodge,  177,  of  City  of  New  York.  I.  O.  O.  F."  (Lapidarium, 
72  X  28.) 

Gray  marble,  with  square  and  compass.     "  Our  Tribute.     Lafayette  Lodge  No.  64.    F.  A.  M.  New  York  City. 

Sep.  16.    A.L.  5853.    A.D.  1853."    (Lapidarium,  36  X  24.) 
Black  marble,  with  hands  bearing  a  lighted  torch.    "A  tribute  from  the  teachers  of  the  Buffalo  Public  Schools." 

(Lapidarium,  42  X  22.) 

White  marble.  "  American  Institute  of  the  City  of  New  York.  Incorporated  for  the  purpose  of  encouraging  and 
promoting  domestic  industry  in  Agriculture,  Commerce,  Manufactures  and  the  Arts."    (East  wall  49  X  24.) 

Wliite  marble.  "'The  memory  of  the  just  is  blessed.'  Prov.  10.  7.  Presented  by  the  children  of  the  Sunday 
schools  of  the  Methodist  Episcopal  Church  in  the  City  of  New  York,  Feb.  22nd  1855."  (Lapidarium, 
66  X  36.) 

Light-gray  marble,  with  a  burning  building  carved  in  bas-relief.    "  Fire  Department  of  the  City  of  New  York. 

Incorporated  March  20th,  1798."    (Lapidarium,  74  X  55.) 
White  marble.    "  New  York.    Presented  by  Masterson  and  Smith  Morgan's  marble  Westchester  County."  (West 

wall,  48  X  24.) 

NORTH  CAROLINA. 

Granite,  with  State  coat-of-arms.     Inscription  in  white  marble  letters :   "  North  Carolina.    Declaration  of  Inde- 
pendence.   Mecklenburg,  May,  1775." 
Dark  marble.    "Union  Society  of  Hillsborough,- N.C."    (East  wall,  53  X  24.) 
Granite.    "  From  the  Mechanics  of  Raleigh,  N.C."    Disintegrated.    (East  wall,  48  X  24.) 


Busts,  S tatties,  Monu7?tents,  and  Medals. 


227 


Light  cream-colored  marble.     Star  and  triangle.     Motto :   "  Love,   Purity  and  Fidelity.     Grand   Division  S.  T. 

North  Carolina."    Badly  disintegrated.    (East  wall,  48  X  24.) 
White  marble,  with  head  of  Shakespeare  in  bas-relief.    Inscription  in  green  letters  :  "  North  Carolina.  Wilmington 

Thalian  Association."    (Lapidarium,  40  X  24.) 

OHIO. 

Yellow  marble.  "The  state  of  Ohio.  The  memory  of  Washington,  and  The  Union  of  the  States  —  Sunto 
Perpetua."    (East  wall.) 

Dark  marble,  with  Masonic  emblems.    "  In  token  of  Respect  for  Washington  as  a  Free  Mason.    By  the  Grand 

Lodge  of  Ohio."  (Lapidarium.) 
Gray  marble.    "  Love,  Purity  and  Fidelity.     Grand  Division  of  Ohio  Sons  of  Temperance.    To  (Dconje  E23ash= 

fncjton."    (Lapidarium,  72  X  35-) 
Yellow  marble,  with  Odd-Fellows'  emblems.    "  The  Odd  Fellows  of  Ohio  To  the  memory  of  Washington.  Honor, 

Veritas  et  benevolentiae  Pretium  Permanebit."    (East  wall,  48  X  24.) 
White  marble,  with  a  hose-cart  wreathed  with  flowers.     The  inscription :  "  Cincinnati  Independent  Fire  Engine 

and  Hose  Company.     Instituted   1829.     Dissolved   1852."   With  the  mottoes  of  the  three  companies,  as 

follows:  "Pilot  —  'Give  us  but  elbow-room."  —  Witch  —  'Fire  and  water,  the  witches'  ordeal.'     Rover.  'Our 

war  is  with  the  elements.    In  storm  or  calm,  always  trim.'  "    (Lapidarium,  48  X  24.) 
Limestone.    "  Presented  to  the  Washington  Monument,  By  the  Proprietors  of  the  Cincinnati  Commercial.    J.  W.  S. 

Brown  and  L.  C.  Curtis.    1850."    (Lapidarium,  48  X  24.) 
D?ab  marble.     "By  the  Invincible  Co.  No.  5,  Cincinnati,  Ohio.  1850.     The  memory  of  Washington."  (West 

wall,  48  X  24.) 

Fossiliferous  marble,  from  the  bed  of  the  Ohio  River  at  Cincinnati.  "The  Young  Men's  Mercantile  Library 
Association  of  Cincinnati.  Organized  A.D.  1835.  —  A.D.  1853.  2400  Members.  Proud  to  Honor  Washington, 
Contributes  its  humble  quota  to  the  swelling  tide  of  National  gratitude.  Ohio  —  first-born  of  the  ordinance 
of  '87,  —  every  pulsation  of  her  heart  beats  high,  beats  strong  for  Liberty  and  for  the  Union."  (Lapidarium, 
48  X  24.) 

PENNSYLVANIA. 

White  marble.  In  centre  the  keystone,  with  motto:  "Pennsylvania,  founded  1681,  by  Deeds  of  Peace."  One 
side,  State  coat-of-arms.    The  other  side,  William  Penn's  treaty  with  the  Indians.    (West  wall,  73  X  37-) 

Wliite  marble.  Inscription  in  black  letters :  "  God  and  our  native  land.  United  Sons  of  America.  Instituted 
1845.    Pennsylvania."    (East  wall,  48  X  24.) 

Light  marble.    "  From  Braddock's  Field." 

White  marble.    Masonic  emblems  in  either  corner,  with  eagle  in  centre,  with  scroll  inscribed  :  "  Presented  by  the 

United  American  Mechanics,  Pennsylvania."    (Lapidarium,  49  X  25.) 
Blue-veined  white   marble.     "  Pennsylvania.     From   D.  O.    Hitner's    Quarry,   Montgomery   Co."    (West  wall, 

48  X  24.) 

Marble.    "  Honesdale,  Wayne  County,  Pennsylvania."    (Lapidarium,  45  X  22.) 

White  marble,  with  an  open  Bible.  "Search  the  Scriptures.  Suffer  little  children.  From  the  Sabbath-school 
children  of  the  Methodist  E.  Church  in  the  city  and  district  of  Philadelphia,  July  4th  1853.  A  preached 
Gospel  —  A  Free  Press.    Washington.    We  revere  his  memory." 


228 


Original  Portraits  of  Washington. 


White  marble,  with  corporation  seal.  Inscription  on  a  scroll  borne  by  an  eagle  :  "  Declaration  of  Independence. 
Philadelphia,  July  4th  1776.    Corporation  of  the  city  of  Philadelphia/'    (Lapidarium,  88  X  70.) 

White  marble,  with  a  fountain  and  Other  emblems.  Inscription  on  a  shield :  "  Sons  of  Temperance  of  Penn- 
sylvania.    Fidelity.     The   surest  safeguard  to  our  country  is   total   abstinence   from   all  that  intoxicates." 

(Lapidarium,  72  X  26). 

White  marble,  with  an  altar  in  the  centre,  and  Masonic  emblems  on  either  side.  "  Ad  Majorem  supremi  architecti 
gloriam.    Holiness  to  the  Lord.    From  the  Keystone  state  Grand  Lodge.    A.D.  1851.    A.L.  5851." 

Native  marble,  drab  veined  with  black.  "Mount  Lebanon  Lodge  No.  226,  H.I.N,  of  Lebanon,  Pennsylvania, 
present  this  block  of  native  marble,  as  a  testimony  of  their  veneration  and  respect  for  the  character  and 
service  of  George  Washington.    A.L.  5851.    A.D.  1851."    (East  wall,  48  X  24.) 

White  marble,  with  Odd-Fellows'  emblems.  "  I.  O.  O.  F.  of  Philomathean  Lodge,  Mount  Airy  Lodge,  Walker 
Lodge,  Mount  Horeb  encampment.    Germantown,  Penna,  M.D.  C.C.C.  L."    (Lapidarium,  48  X  24.) 

Veined  white  marble,  with  Odd-Fellows'  emblems.  "  I.  O.  O.  F.  A  tribute  of  veneration  and  gratitude  from  the 
subordinate  Lodges  of  I.  O.  O.  F.  of  the  city  and  county  of  Philadelphia,  state  of  Pennsylvania,  in  commemo- 
ration of  the  devoted  patriotism,  the  exalted  virtues,  and  the  illustrious  deeds  of  him,  whose  memory  is  an 
adamantine  link  in  the  National  Union."    (Lapidarium,  72  X  47-) 

Wliite  marble.  Work  in  high  relief ;  stone-cutter's  tools  and  blocks  of  hewn  stone.  Association  of  Journeymen 
stone-cutters  of  Philadelphia.    "United  we  stand."    (West  wall,  72  X  36.) 

White  marble,  with  a  locomotive  in  high  relief  on  a  panel.  "  Presented  by  the  Employees  of  R.  Norris  and 
Son,  Locomotive  works.    Philadelphia.    Feb.  22.  1856."    (Lapidarium,  66  X  40.) 

Yellow  marble.  "  From  the  Templars  of  Honor  and  Temperance.  Organized  Dec.  5th  1845.  Truth,  Love,  Purity 
and  Fidelity.  —  Our  pledge.  —  We  will  not  make,  buy,  sell,  or  use  as  a  beverage,  any  spirituous  or  malt  liquors, 
wine,  cider,  or  any  other  alcoholic  liquors ;  and  will  discountenance  their  manufacture,  traffic  and  use ;  —  and 
this  pledge  we  will  maintain  unto  the  end  of  life." 

Wliite  marble.  Three  elaborately  carved  blocks  from  the  fire-department  of  Philadelphia,  presented  in  1854. 
Each  ornamented  with  appropriate  scenes  and  emblems,  and  inscribed  with  the  names  of  the  fire-companies. 
(Lapidarium,  46  X  26.) 

White  marble,  with  a  globe.  "From  Jefferson  Medical  College,  Philadelphia,  1826.  By  the  class  of  1853." 
(Lapidarium,  50  X  30.) 

RHODE  ISLAND. 

Granite,  with  State  coat-of-arms.    Inscription  in  black  letters :  "  Rhode  Island."    (West  wall,  48  X  24.) 
Granite.    "  S.  of  T.  —  R.I."    (West  wall,  48  X  24.) 
White  marble,  with  coat-of-arms.    "  Warren  R.I." 

SOUTH  CAROLINA. 

White  marble,  with  State  coat-of-arms.    "  South  Carolina."    (West  wall,  48  X  24.) 

TENNESSEE. 

Polished  Tennessee  marble.    Inscription  in  gilt  letters:  "Tennessee.    The  Federal  Union,  it  must  be  preserved." 

(In  lapidarium,  48  X  24.) 
Yellow-veined  gray  marble.    "  Nashville.    Tennessee."    Disintegrating.    (West  wall,  48  X  24.) 
Light  native  marble.    "From  Hawkins  County,  Tennessee."    (Cracked,  and  removed  from  east  wall,  48  X  24.) 


Busts,  Statues,  Monuments,  a7td  Medals. 


229 


UTAH. 

W/iite  sandstone,  ornamented  with  fruits  and  flowers,  and  with  the  emblems  of  the  Territory,  —  clasped  hands,  an 
eye,  and  a  bee-hive.    "  Holiness  to  the  Lord."  (Lapidarium.) 

VERMONT. 

White  marble,  with  State  coat-of-arms.    "Vermont.    Freedom  and  Unity."    (In  lapidarium,  45  X  53.) 

VIRGINIA. 

Red  granite,  with  State  seal.    "Virginia,  who  gave  Washington  to  America,  gives  this  granite  for  his  Monument." 

(West  wall,  48  X  24.) 
Granite.    "  Richmond.    Virginia."    (Lapidarium,  48  X  24.) 

White   marble.     "  Westmoreland   County,  Virginia,  the  birthplace  of  Washington "   (bricks  from  the  old  home 

inserted).    (West  wall,  43  X  24.) 
Mottled  granite.    "  From  Otter's  summit,  Virginia's  loftiest  Peak,  to  crown  a  monument  to  Virginia's  noblest  son." 

(In  west  wall,  48  X  24.) 

Light-gray  marble.    "  From  the  citizens  of  Alexandria,  Va.  —  the  descendants  of  the  friends  and  neighbors  of 

Washington.    1851."  (48X26.) 
White  marble.    "  From  the  Jefferson  Society  of  the  University  of  Virginia,  To  the  National  Washington  Monu- 
ment.   Jan  7th  i860."    (Lapidarium,  48  X  24.) 
Marble.    "  From  the  Alumni  of  Washington  College  at  Lexington  Virginia.     The  only  college  endowed  by  the 

Father  of  his  Country."    (East  wall,  59  X  24.) 
Granite,  with  a  Bible  opened  at  Psalm  CXXXIII.    "  By  the  Grand  Lodge  of  Ancient  Free  and  Accepted  Masons 

of  Virginia.    Lo  !  she  gave  to  the  republic  the  chief  corner-stone.    Aug.  4.  A.L.  5754."  (Lapidarium.) 
Granite,  with  marble  facings,  with  Masonic   emblems  and  an  open  Bible  of  white  marble  inscribed  Psalm 

CXXXIII.    "  Presented  by  St.  John's  Lodge  No.  36.    Richmond  Va." 
Black  marble,  mottled  with  white,  with  Odd-Fellows'  emblems.    Inscription  in  black  letters:  "Contributed  by  the 

Grand  Lodge  of  Virginia.    A.D.  185 1."    (East  wall,  48  X  24.) 
Black  marble,  with  appropriate  symbols.    "  Presented  by  the  Grand  Division,  Sons  of  Temperance,  State  of  Va. 

1850." 

Granite.  "From  Walter  Gwynn,  D.  S.  Walton,  E.  Loraine,  Wash"  Gill,  John  E.  McRae,  J.  M.  Harris,  W.  E. 
Turpin.  —  Engineers  2nd  Division,  James  River  and  Kana  Canal."    (West  wall,  48  X  24. ^ 

WISCONSIN. 

Veined  white  marble.    "Wisconsin,  admitted  May  29th  1848."    (Lapidarium,  48  X  24. 

NATIONAL. 

White  marble,  with  figures  of  armed  men  and  animals  in  bas-relief.  "American  Medical  Association.  Vincit  amor 
Patria.    Instituted  MDCCCXLVII."    (Lapidarium,  48  X  24.) 

Wliite  marble,  with  the  head  of  Shakespeare  in  high  relief.  "A  tribute  of  respect  from  the  ladies  and  gentle- 
men of  the  Dramatic  profession  of  America.    All  that  live  must  die."    (Lapidarium,  48  X  24.) 

Marble.    "Company  A.  4th  Regiment  Infantry,  U.S.A.  March  Ist-  185 1."    (East  wall,  60  X  24.) 


2.30 


Original  Portraits  of  Washington. 


Light-gray  marble,  with  an  open  Bible.  "The  General  Assembly  of  the  Presbyterian  Church  in  the  United  States 
of  America  in  session  in  Washington  city,  —  May,  1852."    (Lapidarium,  73  X  30.) 

IVliite  marble,  with  Odd-Fellows'  emblems.  "  Presented  by  the  Grand  Lodge  of  the  United  States  of  the 
I.  O.  O.  F.  We  command  you  to  visit  the  sick,  relieve  the  distressed,  bury  the  dead,  and  educate  the 
orphan." 

White  marble,  richly  decorated  with  ancient  and  modern  emblems,  and  an  eagle  bearing  a  scroll  with  the  motto, 
"  Love,  Purity  and  Fidelity.  From  the  Templars  of  Honor  and  Temperance,  1846.  Organized  Dec.  5,  1845." 
(Lapidarium,  63  X  39-) 

Gray  marble.    "Cherokee  Nation,  1854."    (Lapidarium,  44X48.) 

WJiite  marble.    "To  Washington.    An  humble  Tribute  from  Two  Disciples  of  Daguerre."    (Lapidarium,  46  X  22.) 

FOREIGN  COUNTRIES. 
BRAZIL. 

Dark  granite,  with  a  crown  over  a  shield  in  the  centre,  and  a  wreath  of  laurel  below.  "Brazil.  1878. '*  (Lapi- 
darium, 40  X  40.) 

BREMEN. 

Dark-brown  marble,  with  coat-of-arms  and  crown  in  the  centre,  and  brass  ornaments  in  either  corner.  "Wash- 
ington, dem  grossen,  guten  und  gerechten.    Das  befreundete.    Bremen."    (Lapidarium,  48  X  24.) 

CANADA. 

Dark  polished  granite.  "The  sons  of  New  England  in  Canada,  to  Washington.  Contributed  by  the  New  Eng- 
land Society  in  Montreal."    (Lapidarium,  48  X  24.) 

CARTHAGE. 

Veined  marble,  yellow  and  gray,  with  a  circular  mosaic  in  the  centre.  On  the  black  background  are  the  figures 
of  a  horse  and  a  palm-tree  in  marble  mosaic.  "Carthage.  Presented  by  David  Porter  Heap,  M.D.  July  4th 
1855."    (Lapidarium,  18  X  18.) 

CHINA. 

Polished  marble,  four  feet  five  inches  by  three  feet  five  inches,  with  an  inscription  in  Chinese. 

Dark-gray  granite,  with  a  wreath  encircling  a  central  panel  of  black,  on  which  is  the  inscription :  "  From  the 

citizens  of  the  United  States  of  America,  residing  in  Foo  Chow  Foo,  China,  Feb  22,  1857."  (Lapidarium, 

32  X  24.) 

EGYPT. 

Irregular  slab  of  white  marble,  in  which  is  inlaid  a  head  of  gray  stone  in  bas  relief.  "This  head  was  carved 
between  2  &  3000  years  ago  by  the  ancient  Egyptians,  for  the  temple  erected  in  honor  of  Augustus  on  the 
banks  of  the  Nile.  Brought  from  there  by  J.  A.  Lehman  and  presented  to  the  Washington  Monument. 
1858." 

Irregular  pink  granite.  "  From  the  Alexandrian  Library,  Egypt.  Brought  to  this  country  by  G.  G.  Baker." 
(Lapidarium,  18  X  24.) 


Busts,  Statues,  Monuments,  and  Medals. 


231 


GREECE. 

Block  from  the  Parthenon.     (49  X  34-) 

"To  George  Washington  —  the  Hero,  General,  Distinguished  Citizen,  —  Founder  of  well-regulated  modern 
Liberty.  The  country  of  Solon,  Themistocles  and  Pericles,  —  The  Mother  of  Ancient  Liberty  —  This  Ancient 
stone.    As  a  token  of  honor  and  admiration.    From  the  Parthenon." 

rEQPriQ  OYASIKTflNI 
HPGI    ZTPATHrO  .  AKPfl  .  IIOAITH  .  IAPYTH  .  NEAS  .  EAEY9EPIA2  EYNOMOY 
H    SOAftNOZ    GEMISTOKAEOYS    ITEPIKAEOY2  IIATP1Z 
THS    APXAIAS    EAEYTQEPIAZ  MHTHP 

TON    APXAION    TOYTON  AI90N 
TIMH2    KAI    OAYMAZMOY  TEKMHPION 
EK    TOY  IIAPeENQNuS. 

ITALY. 

Block  of  rare  marble,  an  antique  stone  from  the  Temple  of  Concord,  sent  by  Pio  Nono,  in  1854.  "Rome 
To  America."    (36  X  18.) 

This  gift  of  his  Holiness  was  destroyed  in  a  manner  extremely  mortifying  to  the  people  of  this  country. 
The  facts  were  fully  given  in  "The  National  Intelligencer,"  March  8,  1854:  — 

"A  deed  of  barbarism  was  enacted  on  Monday  morning  last,  between  one  and  two  o'clock,  by  several  persons 
(number  not  known,  but  supposed  to  be  from  four  to  ten),  which  will  be  considered  as  belonging  to  some  of  the  centu- 
ries considerably  in  our  rear,  rather  than  to  the  better  half  of  the  nineteenth.  We  refer  to  the  forcible  seizure,  from 
its  place  of  deposit  in  a  shed  at  the  Washington  Monument,  of  a  block  of  marble  sent  hither  from  Rome,  as  a  tribute 
to  the  memory  of  Washington,  by  the  Pontiff,  and  intended  to  be  a  part  of  the  edifice  now  erecting  to  signalize  his 
name  and  glory.  It  originally  stood  in  the  Temple  of  Concord  at  Rome,  was  of  beautiful  texture,  and  had  for  its 
dimensions  a  length  of  three  feet,  a  height  of  eighteen  inches,  and  thickness  of  ten. 

"  The  account  we  hear  of  the  matter  is  this :  that,  at  about  the  time  above  mentioned,  several  men  suddenly  sur- 
rounded the  watch-box  of  the  night-watchman,  and  passed  a  cord,  such  as  is  used  for  clothes-lines,  around  the  box,  and 
piled  several  stones  against  the  door,  calling  to  the  man  within,  that  if  he  kept  quiet  he  would  not  be  injured.  At  the 
same  time  they  pasted  pieces  of  newspaper  on  the  two  or  three  window-openings  that  commanded  the  particular  shed 
containing  the  fated  block,  so  as  to  prevent  the  watchman  from  seeing  their  operations.  They  then  removed  one  of 
the  strips  in  front  of  the  place  where  the  block  stood,  and,  passing  in  and  out  by  the  opening,  carried  it  off  by  placing 
it  on  a  hand-cart  used  about  the  premises.  Close  to  its  side  stood  the  block  from  Deseret,  before  described  in  this 
paper. 

"  There  is  no  doubt  they  took  the  block  to  the  river-side,  not  less  than  a  quarter  of  a  mile  off,  and  pitched  it 
over  the  steep  bank  upon  the  river-beach,  where  they  enjoyed  a  favorable  opportunity  of  breaking  it  up  undiscovered, 
or  boating  it  off  into  the  river,  which  they  probably  did,  after  defacing  it.  All  this  went  on,  it  seems,  without  effective 
remonstrance  from  the  watchman,  although  he  had  with  him  a  double-barrelled  gun  loaded  with  buckshot,  and  the 
operations  at  the  shed  were  within  easy  shot.  As  for  the  pasting  on  the  windows,  there  was  nothing  in  that ;  for  they 
slide  up  and  down  like  the  sashes  of  an  omnibus.  These  proceedings,  the  watchman  says,  took  place  at  half-past  one ; 
but  he  gave  no  notice  of  it  to  the  family  residing  at  the  Monument  until  four.  For  these,  and  other  similar  reasons, 
he  has  been  suspended.  A  meeting  of  the  board  took  place  yesterday,  at  which  it  was  determined  to  offer  a  reward  of 
a  hundred  dollars  for  the  discovery  of  the  perpetrators." 

A  rebuke  to  the  spirit  that  led  to  this  outrage  is  found  in  an  order  issued  by  Washington,  Nov.  5,  1775. 
He  refers  to  a  report  that  preparations  had  been  made  to  burn  the  Pontiff  in  effigy,  and  sternly  says, — 


232 


Original  Portraits  of  Washington. 


"  The  commander-in-chief  cannot  help  expressing  his  surprise  that  there  should  be  officers  and  soldiers  in  this 
army  so  void  of  common  sense  as  not  to  see  the  impropriety  of  this  step,"  etc. 

JAPAN. 

Marble,  with  an  inscription  in  Japanese,  of  which  the  following  is  a  translation :  "  Exported  from  the  harbor  of 
Simoda,  in  the  province  of  Iddsin,  the  fifth  month  of  the  year  Ansey  Tora.    April,  1853." 

PAROS  AND  NAXOS. 

Wliite  marble.    Inscription  in  raised  black  letters  :  "  Presented  by  the  Governor  and  commune  of  the  Islands  of 
Paros  and  Naxos,  Grecian  Archipelago.    Aug.  13,  1855." 

PAROS. 

White  marble.    "  From  the  Temple  of  Esculapius,  Island  of  Paros.    Presented  by  the  officers  of  the  U.  S.  Steam 
Frigate  Saranac,  August  13th  1855." 

SIAM. 

Yellow  marble  {dark).  Inscription  in  English,  "Presented  to  the  Washington  Monument  Association  by  His 
Majesty  the  Second  King  of  Siam."  (12  X  6.) 
The  letter  accompanying  this  stone  states  that  it  was  excavated  by  his  Majesty's  orders  from  the  royal 
quarries  in  the  Korat  Hills,  distant  about  a  hundred  miles  from  the  city  of  Bangkok.  His  Majesty  during  his 
youth,  while  a  prince  of  the  realm,  conceived  a  peculiar  fondness  for  America  and  her  liberal  institutions,  derived 
in  great  part  from  the  instructions  of  our  missionaries  resident  there,  and  assumed  the  name  "  George  Washington ; " 
and,  many  years  prior  to  his  elevation  to  the  throne,  he  was  familiarly  addressed  as  "  Prince  George  Washington," 
and  even  to-day  enjoys  a  reference  to  that  circumstance.  The  King  left  it  optional  with  his  agents  to  have  the 
inscription  on  the  stone  engraved  in  English  or  Siamese.  As  it  was  found  difficult  to  correctly  engrave  the  Siamese 
characters,  the  English  were  adopted.  The  original  of  the  inscription  in  Siamese  language  is,  however,  enclosed 
on  a  slip  of  paper.  The  full  name  and  title  of  the  royal  donor  is,  "  His  Majesty  Krom  Phra  Ratcha  Wang 
Borwang,  Satan  Mongkong.    Second  King  of  Siam." 

ST.  HELENA. 

Dark  granite.    The  inscription  ordered  was  — 

"  Napoleon 
to 

Washington." 

(Lapidarium,  24  X  12.) 


COPY  OF  EXTRACT  FROM  "THE  ST.  HELENA  HERALD,"  DEC.  29,  1859. 

On  Tuesday,  the  20th  inst,  a  most  interesting  ceremony  took  place  at  the  tomb  of  Napoleon  I. 

The  United-States  consul,  G.  W.  Kimball,  Esq.,  met  Monsieur  le  Commandant  de  Rougemont  and  the  other  French 
officers  of  Longwood,  in  the  presence  of  N.  Solomon,  Esq.,  vice-consul  for  France  {ad  interim),  on  the  20th,  by  invitation, 
to  receive  a  stone  from  the  tomb  of  Napoleon  L,  which  had  been  granted  by  the  Emperor  Napoleon  III.  to  the  Unrted- 
States  consul,  to  be  placed  in  the  National  Monument  now  being  erected  in  Washington  City  to  the  memory  of  the  great 
George  Washington.  .  .  . 


Busts,  Statues,  Monuments,  and  Medals. 


233 


Its  interior  will  be  embellished  with  memorial  stones,  slabs  of  marble,  etc.,  with  suitable  inscriptions,  placed  in  the 
four  walls  at  distances  of  twenty  feet.  Not  only  has  each  State  in  the  Union  contributed  of  its  own  quarries,  but  many 
foreign  nations  have  also  presented  beautiful  specimens  of  stones.  ■ 

On  the  reception  of  the  United-States  consul,  the  despatch  from  the  French  minister  for  foreign  affairs  was  read 
to  him.  He  then  descended  into  the  tomb  with  Commandant  de  Rougemont,  Capt.  Masselin  of  the  engineers,  and  the 
French  vice-consul,  where  the  ceremony  of  the  removal  of  the  stone  was  begun  by  Capt.  Masselin  first  using  the  pick. 
After  its  release,  it  was  drawn  up  by  a  rope  in  the  hands  of  the  gentlemen  themselves,  and  deposited  at  the  entrance  of 
the  tomb.  ' 

The  following  address  of  presentation  was  made  by  M.  de  Rougemont:  — 

"  I  am  happy,  Monsieur  le  Consul,  in  having  been  able  to  contribute  to  the  negotiations  which  have  brought  about 
the  delivery  which  I  have  the  honor  to  make  you  to-day,  and  in  being  able  to  deliver  up  to  you,  in  the  name  of  the 
Emperor,  a  stone  which  shall  testify  to  all  those  who  shall  visit  the  monument  where  it  will  be  placed  that  France  still 
preserves  towards  the  United  States  the  same  sentiments  as  at  the  time  when  Washington  obtained  his  place  in  history." 

To  the  above  address,  Mr.  Kimball,  United-States  consul,  made  the  following  reply:  — 

"Monsieur  le  Commandant,  —  The  occasion  which  has  summoned  us  to  this  sacred  spot  fills  me  with  profound 
feelings.  Before  me  lays  the  consecrated  tomb  of  the  illustrious  captive,  wherein  his  body  found  repose  beneath  the 
shade  of  these  drooping  willows  after  a  life  fraught  with  glory,  but  who  now  sleepeth  on  the  banks  of  his  loved  Seine. 
By  the  gracious  permission  of  his  Imperial  Majesty  Napoleon  III.,  I  am  here  to  receive  at  your  hand,  Monsieur  le  Com- 
mandant, a  sacred  memento, —  one  of  the  stones  on  which  rested  for  many  long  years  the  body  of  him  who  filled  the 
world  with  his  fame,  —  as  a  contribution  to  a  monumental  column  now  growing  heavenward  in  the  capital  of  my  own 
nation  to  the  memory  of  one  of  the  most  illustrious  and  best  of  those  whom  Heaven  hath  sent  to  earth. 

"  I  beg,  then,  Monsieur  le  Commandant,  that  you  will  convey  to  his  Imperial  Majesty,  in  behalf  of  the  Monumental 
Association  and  of  the  people  of  the  United  States,  as  well  as  from  my  own  heart,  the  deep  sentiment  of  veneration 
widi  which  for  them  I  accept  this  gift,  to  be  borne  hence,  and  placed  in  a  niche  of  that  structure,  growing  by  the  com- 
memorative gifts  of  many  nations,  to  the  memory  of  the  great  Washington.  And  as  in  future  ages  thousands  shall  gaze 
on  its  inscribed  tablets,  they  shall  stand  arrested  as  the  eye  falleth  on  this  sacred  stone,  attesting  in  silent  but  impressive 
language  the  strength  of  that  friendship  between  the  two  nations,  which,  springing  up  at  our  birth,  has  continued  on  as  a 
golden  cord  until  this  present;  and  may  its  links  only  part  when  the  graceful  column  shall  fall  at  the  consummation  of 
all  things!    And  let"  [here  were  laid  on  the  stone  the  French  and  American  flags]  "this  symbolize  that  fraternity. 

'■  Allow  me,  Monsieur  le  Commandant,  to  express  the  gratification  it  affords  me  to  receive  this  relic  at  your  hands, 
and  to  thank  you  for  the  ready  attention  you  have  given  this  matter,  and  the  pleasing  manner  in  which  you  have  now 
gracefully  intrusted  it  to  my  keeping." 

The  stone  was  then  placed  in  a  box,  with  the  flags  of  the  two  nations  enveloping  it,  and,  being  fastened  down, 
was  conveyed  to  the  office  of  the  United-States  consul,  and  will  remain  there,  under  the  seals  of  the  two  nations,  until 
sent  by  a  favorable  opportunity  to  Washington,  together  with  papers  of  identification,  where  it  will  receive  a  fitting 
inscription.  It  will  then  be  placed  in  the  Washington  Monument  as  a  tribute  of  the  French  nation,  in  token  of  its 
acknowledgment  of  the  glorious  deeds  and  transcendent  virtues  of  that  man  whom  his  country  hath  delighted  to  honor. 

And  we  hope  that  many  St.  Helenians  may  look  on  that  memorial  stone  with  pleasure  when  on  a  visit  to  their 
friends  in  the  New  World. 

The  secretary  of  the  Washington  Monument  Association  was  notified  of  these  proceedings,  also  that  the 
box  containing  stone  would  be  shipped  by  United-States  ship  "Mystic,"  Jan.  5,  i860.  Through  some  misdirection 
the  stone  was  overlooked,  and  remained  undiscovered  in  the  store-house  of  the  Washington  Navy  Yard  until  the 
spring  of  1880,  when  it  was  sent  to  the  lapidarium. 


234 


Original  Portraits  of  Washington. 


SWITZERLAND. 

Variegated  marble.  Inscription  in  brass  letters :  "  To  the  Memory  of  Washington.  The  Free  Swiss  Confederation. 
M.DCCCLII." 

TURKEY. 

White  marble,  highly  ornamented,  with  a  Turkish  inscription  in  gilt  letters  on  a  blue  field,  of  which  the  following 
is  a  translation:  "So  as  to  strengthen  the  friendship  existing  between  the  two  countries,  Abdul  Madjid  Kahn 
has  had  his  name  written  on  the  monument  of  Washington." 

VESUVIUS. 

Block  of  lava  three  feet  long  by  eighteen  inches  wide.    "  Lava.    Vesuvius.    Wm  Terrell,  Georgia." 

i 

These  blocks  are  almost  uniform  in  size,  and  are  chiefly  of  marble  or  granite,  though 
varied  in  execution ;  and  among  the  number  given  in  the  foregoing  list  will  be  noted 
several  historic  slabs  and  blocks  of  great  interest.  In  ages  to  come,  when  this  marble 
record  shall  be  deciphered,  it  will  form  a  chapter  of  history,  as  well  as  a  series  of  monu- 
ments in  miniature,  within  the  gigantic  column.  The  work  on  the  monument  is  command- 
ing the  approval  of  the  most  accomplished  engineers:  and,  if  it  were  being  constructed  in 
a  foreign  country,  Americans  would  esteem  it  a  privilege  to  be  allowed  to  examine  it ;  as 
it  is,  this  country  indicates  little  appreciation  of  it  as  a  feat  of  engineering,  or  compre- 
hension of  the  magnificent  proportions  of  the  structure.  Whether  it  be  artistically 
approved  or  not,  the  fact  remains,  that  as  an  individual  and  national  memorial,  in  its 
contributions,  proportion,  and  dedication,  this  monument  will  ever  have  an  interest  placing 
it  apart  from  all  the  memorials  raised  to  earthly  greatness. 


MEDALS. 


N  imperishable  and  most  important  monument  to  the  fame  of  George  Wash- 
ington is  the  medal  ordered  by  the  Continental  Congress  to  commemorate 
the   "Evacuation   of   Boston,"  March   17,   1776.     This   country   can  never 
produce  a  more  notable  memorial.    It  is  the  first  medal  of  a  nation,  and  a 
record  of  that  nation's  first  victory. 

Congress,  then  sitting  in  Philadelphia,  was  surprised  and  delighted  by  the  official 
announcement  that  the  British  had  left  Boston  ;  and  the  representatives  of  the  struggling 
Colonies  gave  expression  to  their  gratitude  in  the  following  resolution  :  — 

"Resolved,  That  the  thanks  of  this  Congress,  in  their  own  name,  and  in  the  name  of  the 
thirteen  united  Colonies  whom  they  represent,  be  presented  to  his  Excellency  Gen.  Washington, 
and  the  officers  and  soldiers  under  his  command,  for  their  wise  and  spirited  conduct  in  the  siege 
and  acquisition  of  Boston  ;  and  that  a  medal  be  struck  in  commemoration  of  this  great  event,  and 
presented  to  his  Excellency ;  and  that  a  committee  of  three  be  appointed  to  prepare  a  letter  of 
thanks,  and  proper  device  for  the  medal. 

"Monday,  March  25,  1776." 

The  three  members  chosen  were  Messrs.  Adams,  Jay,  and  Hopkins.  Further  expres- 
sion of  mutual  congratulation  at  this  anxious  crisis  is  found  in  letters  interchanged  at 
the  time.  One  from  the  president  of  Congress,  Hon.  John  Hancock,  and  another  from 
the  distinguished  statesman  John  Adams,  are  characteristic.  Mr.  Hancock's  official  letter 
was  written  in  such  a  stiff  and  courtly  style,  that  the  conviction  arises  that  he  may  still 
have  felt  the  sting  of  disappointment  in  regard  to  not  having  received  the  command  of 
the  army.  He  announces,  "  The  Congress  has  ordered  a  golden  medal,  adapted  to  the 
occasion,  to  be  struck,  and  when  finished  presented  to  you." 

Meantime  the  commander-in-chief  had  the  kindness  to  write  to  the  president  of 
Congress  that  his  residence  had  fortunately  not  been  injured,  —  a  princely  home,  which, 

235 


236 


Original  Portraits  of  Washington. 


though  it  escaped  the  cannon  of  the  foe,  was,  when  gray  with  memories  of  that  struggle, 
permitted  to  be  swept  away  by  the  modern  vandalism  termed  "  improvement." 

The  warm  friendship  of  John  Adams  for  Washington,  and  a  certain  gratified  pride 
that  he  was  almost  solely  responsible  for  designating  him  as  best  qualified  for  com- 
mander of  the  army,  are  indicated  in  every  line  he  wrote  that  officer  during  the  struggle 
for  independence.  As  part  of  the  history  of  the  medal,  this  short  note  has  a  claim  to 
be  here  inserted  :  — 

Phila.  April  2nd  1776. 

To  General  Washington. 

Sir,  —  I  congratulate  you,  as  well  as  all  the  friends  of  mankind,  in  the  reduction  of  Boston  ; 
an  event  which  appeared  to  me  of  so  great  and  decisive  importance  that  the  next  morning  after 
the  arrival  of  the  news,  I  did  myself  the  honour  to  move  for  the  thanks  of  Congress  to  your 
Excellency,  and  that  a  Medal  of  gold  should  be  struck  in  commemoration  of  it.  Congress  have 
pleased  to  appoint  me,  with  two  other  gentlemen,  to  prepare  a  suitable  device.  I  should  be  very 
happy  to  have  your  Excellency's  sentiments  concerning  a  proper  one.  I  have  the  honour  to  be 
with  great  respect,  Sir,  Your  most  Obedient  and  Affectionate  Servant, 

JOHN  ADAMS. 

In  reply,  Gen.  Washington  wrote :  — 

New  York,  April  15th  1776. 

To  John  Adams,  Esq. 

Sir, —  I  am  impressed  with  the  deepest  gratitude  for  the  high  honour  intended  me  by  Con- 
gress. Whatever  devices  may  be  determined  upon  by  the  respectable  committee  they  have  chosen 
for  that  purpose,  will  be  highly  agreeable  to  me.  I  have  the  honour  to  be,  Most  respectfully,  Sir, 
Your  most  obedient  and  affectionate  humble  servant. 

G°.  WASHINGTON. 

In  "The  Boston  Gazette"  of  April  8,  1776,  there  is  an  account  of  a  visit  from  the 
selectmen  of  Boston  to  Gen.  Washington,  with  an  address  thanking  him  for  delivering 
them  from  the  siege.  Their  names  are  John  Scollay,  Timothy  Newell,  Thomas  Marshall, 
Samuel  Austin,  Oliver  Wendell,  John  Pitts.    Gen.  Washington  returned  this  answer:  — 

To  the  Select  Men  and  Citizens  of  Boston. 

Gentlemen,  —  Your  congratulations  on  the  success  of  the  American  arms,  gives  me  the  greatest 
pleasure.  I  must  sincerely  rejoice  with  you  on  your  being  once  more  in  the  quiet  possession  of 
your  former  habitations  ;  and  what  greatly  adds  to  my  happiness,  that  this  desirable  event  has  been 
effected  with  so  little  effusion  of  human  blood.  I  am  exceedingly  obliged  by  the  good  opinion  you 
are  pleased  to  entertain  of  my  conduct.  Your  virtuous  efforts  in  the  cause  of  freedom,  and  the 
unparalleled  fortitude  with  which  you  have  sustained  the  greatest  of  all  human  calamities,  justly 
entitle  you  to  the  grateful  remembrance  of  your  American  brethren  ;  and  I  heartily  pray  that  the 


i  LA T  F 


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237 


hand  of  tyranny  may  never  more  disturb  your  repose,  and  that  every  blessing  of  a  kind  Providence 
may  give  happiness  and  prosperity  to  the  town  of  Boston. 

GEORGE  WASHINGTON. 

The  following,  written  a  few  days  after  assuming'  command  at  Cambridge,  shows  how 
perfectly  Washington  comprehended  the  situation  in  the  outset,  and  that  the  evacuation 
on  the  17th  of  March  was  the  consummation  of  his  plans  made  in  the  previous  July. 
The  autograph  letter  was,  in  1848,  owned  by  Rembrandt  Peale,  who  transferred  it  to  Mr. 
Charles  Augustus  Smith  of  Philadelphia  :  — 

Camp  at  Cambridge  about  2  miles  from  Boston. 
July  20,  1775. 

Dear  Brother,  —  Agreeable  to  your  request  I  am  now  set  down  to  write  to  you,  although  in 
the  first  place  I  have  scarce  time  to  indulge  an  Inclination  of  that  kind  and  in  the  second  place  do 
not  know  how,  or  whether  it  may  ever  get  to  your  hands. 

I  came  to  this  place  the  2d  Instant  &  found  a  numerous  army  of  Provincials  under  very  little 
command,  discipline  or  order.  I  found  our  enemy  who  had  driven  our  People  from  Bunker  Hill 
strongly  Intrenching  and  from  accts  had  reason  to  expect  before  this,  another  attack  from  them,  but, 
as  we  have  been  Incessantly  (Sunday  not  excepted)  employed  in  throwing  up  works  of  defence  I 
rather  begin  to  believe  now,  that  they  think  it  rather  a  dangerous  experiment,  and  that  we  shall 
remain  some  time  watching  the  Methods  of  each  other,  at  the  distance  of  little  more  than  a  mile, 
and  in  full  view.  From  best  accts  we  have  been  able  to  get  the  number  of  the  enemy  amounts  to 
between  10  &  12,000  men  part  of  which  are  in  Boston  and  part  at  Bunker  Hill  just  by.  Our  num- 
bers including  Sick,  Absent  &c  are  between  16  &  18000.  But  then,  having  great  extent  of  Lines 
and  many  places  to  defend,  and  not  knowing  where  the  attack*  may  be  made  as  they  have  the  entire 
command  of  the  water,  and  can  draw  their  whole  force  to  any  one  point  in  an  hour  or  two's  time 
without  any  person  but  the  commanding  officer  who  directs  it  having  the  least  previous  notice  of  it. 
Our  situation  is  a  little  unfavorable,  but  not  so  bad  but  that  we  shall  give  them  a  pretty  warm 
reception,  if  they  think  proper  to  make  any  advances  towards  us — their  situation  is  such  as  to  secure 
them  from  any  attack  of  ours.  By  what  we  can  learn,  they  are  sadly  distressed  for  want  of  fresh 
Provisions,  Beef  &  the  milch  cow  in  Boston  sells  from  one  shilling  to  i8d  Mutton  higher,  and 
that  only  to  be  had  for  the  Sick.  The  number  of  their  killed  &  wounded  in  their  engagement 
on  Bunker  Hill  could  not  fall  short  of  1100,  ours  did  not  exceed  450  —  a  few  more  such  victories 
would  put  an  end  to  their  army  &  the  present  contest. 

The  village  I  am  now  in  is  situated  in  the  midst  of  a  very  delightful  country  &  it  is  a  very 
beautiful  place  itself  though  small  —  a  thousand  pities  that  such  a  place  should  become  the  theatre 
of  war.  A  month  from  this  day,  will  bring  some  capital  change  I  expect,  for  if  the  enemy  are  not 
able  to  penetrate  into  the  country  they  may  as  well  one  would  think  give  up  the  position  &  return 
home ;  for  if  they  stay  at  Boston,  and  Bunkers  Hill  which  is  another  Peninsula  like  unto  it,  and 
separated  by  a  small  Ferry  crossing  to  Charlestown  which  is  part  of  the  neck,  I  say  if  they  stay  at 
those  places  the  end  which  they  expect  cannot  be  accomplished  and  to  compel  them  to  remain  there 


Original  Portraits  of  Washington. 


is  the  principal  object  we  have  in  view  indeed  the  only  —  We  have  seen  nothing  of  the  riflemen 
yet  nor  have  we  heard  any  thing  certain  of  them  —  I  have  only  time  to  add  my  love  to  my  Sister 
and  the  Family  &  assure  you  that  I  am  with  an  fixed  regard  &  truth  Dr  Sir 

Your  affect6  Brother  &  friend 

G°  WASHINGTON. 

P.  S.  —  In  the  late  engagement  of  the  17th  ult°  the  enemy  by  the  best  account  we  can  get  had 
1040  men  killed  and  wounded  of  which  92  were  officers.  Our  loss  amounted  to  136  killed,  278 
wounded,  36  missing  pray  remember  me  with  kindness  to  Mr.  Warner  Washington  &  family  when 
you  see  them. 

The  delay  in  the  execution  of  the  "Boston  Medal"  was  probably  consequent  upon 
the  difficulty  in  procuring  an  acceptable  model  of  the  head  of  Washington  for  the  engraver 
to  copy.  Ten  years  after  date  of  resolution,  the  order,  as  far  as  discovered,  was  first  given 
to  the  French  artist  Duvivier,  to  make  dies  for  this  medal,  the  design  being  approved. 
The  next  letter  that  has  been  published  in  regard  to  the  subject  was  written  from  Paris 
in  1785,  by  Col.  Humphreys,  to  Washington;  though  doubtless  the  committee  in  charge 
had  private  correspondence  with  agents  in  France,  where  it  was  determined  the  medal 
should  be  produced. 

Meanwhile  ten  other  medals  had  been  ordered  by  the  Continental  Congress  in  com- 
pliment to  gallant  officers.  It  appears  that  the  "  respectable  committee  "  modestly  declined 
to  accept  the  delicate  responsibility  of  selecting  "proper  devices"  for  the  Washington 
Medal,  very  wisely  appreciating  its  difficulties. 

Col.  Humphrey's  letter  to  Washington  is  as  follows  — 

My  dear  General,  —  Upon  leaving  America,  Mr.  Morris  invested  me  with  the  power  of  pro- 
curing the  several  honorary  presents  which  have  been  voted  by  Congress  to  different  officers  in  their 
service  during  the  late  war.  The  Royal  Academy  of  Inscriptions  and  Belles-Lettres,  to  whom  I 
have  addressed  a  letter  on  the  subject,  have  furnished  me  with  the  following  device  and  inscription, 
which  is  to  be  executed  for  your  Excellency  :  On  one  side  the  head  of  the  general.  Legend  :  "  Georgio 
Washington,  supremo  Duci  exercitum  Adsertori  Liberatis  comitio  Americano."  On  the  reverse,  Taking 
possession  of  Boston.  The  American  army  advances  in  good  order  toward  the  town,  which  is  seen 
at  a  distance ;  while  the  British  army  flies  with  precipitation  toward  the  shore,  to  embark  on  board 
the  vessels  with  which  the  harbor  is  covered.  In  the  front  of  the  American  army  appears  the 
general  on  horseback  in  a  group  of  officers,  whom  he  seems  to  make  observe  the  flight  of  the  enemy 
beyond.  Legend:  "  Hostibus  Primo  Fugatio.  Exergue,  Bostonium  Recuperatum  Die  XVII  Martii, 
MDCCLXXVI." 

I  think  it  has  the  character  of  simplicity  and  dignity,  which  is  to  be  aimed  at  in  a  memorial 
of  this  kind,'  which  is  designed  to  transmit  the  remembrance  of  a  great  deed  to  posterity.  You 
really  do  not  know  how  much  your  name  is  venerated  on  this  side  of  the  Atlantic.  I  have  the 
honor  to  be,  my  dear  general,  your  sincere  friend  and  humble  servant, 

D.  HUMPHREYS. 


Busts,  Statues,  Monuments,  and  Medals. 


239 


Col.  Humphreys  left  Paris  for  London  before  the  work  on  the  medal  was  begun,  and 
the  matter  was  placed  in  charge  of  Thomas  Jefferson.  The  following  letter  from  Col. 
Humphreys  proves  this  to  have  been  nearly  ten  years  after  the  congressional  order :  — 

London,  Jan.  30,  1786. 

To  Thomas  Jefferson,  Esq.,  Paris. 

Dear  Sir, — Gatteau  the  engraver  lives  in  the  Street  St.  Thomas  du  Louvre,  opposite  the 
treasury  of  the  Duke  de  Chartres.  Now  that  there  is  no  obstacle  to  commencing  the  medal  for 
Gen.  Washington  since  Houdon's  return,  I  could  wish,  should  it  not  be  giving  you  too  much  trouble, 
that  you  would  send  for  Duvivier,  who  lives  in '  the  old  Louvre,  and  propose  to  him  undertaking  it 
upon  exactly  the  terms  he  had  offered,  which,  I  think,  were  twenty-four  hundred  livres  besides  the 
gold,  and  expense  of  coinage.  If  he  should  not  choose  it,  we  must  let  it  rest  until  Dupre  shall  have 
finished  Gen.  Green's.    Gatteau  has  a  paper  on  which  is  the  description  of  Gen.  Washington's  medal. 

I  am,  sir,  your  most  obedient  and  humble  servant, 

D.  HUMPHREYS. 

Jefferson  acted  promptly  on  these  suggestions ;  and  assuredly  the  commission  was  in 
harmony  with  his  taste  and  culture.    To  Col.  Humphreys  he  wrote :  — 

Paris,  May  7,  1786- 

Dear  Sir,  —  I  have  received  the  books  and  papers  you  mention,  and  will  undertake  to  have 
finished  what  you  left  undone  of  the  medals,  or  at  least  will  proceed  in  it  till  the  matter  shall  be 
put  in  better  hands.    I  am,  dear  sir,  your  friend  and  servant, 

TH.  JEFFERSON. 

When  completed,  the  medal  was  formally  presented,  to  Washington  with  the  resolu- 
tions of  Congress  ;  but  of  this  the  author  has  found  no  official  statement,  nor,  indeed, 
any  record  until  immediately  after  his  death,  when  it  was  catalogued  by  the  appraisers  at 
Mount  Vernon,  among  the  deposits  in  the  famous  "  iron  chest,"  as  the  "  Large  gold 
Medal  of  General  Washington  [value]  $150.00."  This  ridiculously  low  estimate  provokes 
a  smile,  though  of  course  it  was  only  a  consideration  of  its  intrinsic  or  metal  value.  At 
a  private  sale,  confined  to  the  heirs,  for  the  above  valuation  it  became  the  property  of 
George  Steptoe  Washington,  son  of  Samuel  Washington,  a  deceased  brother  of  the  general, 
and  continued  in  the  family,  descending  from  father  to  son,  until  the  winter  of  1876.  It 
was  then  purchased,  for  the  sum  of  five  thousand  dollars,  from  the  widow  of  George 
Lafayette  Washington,  Mrs.  Ann  Ball  Washington,  by  fifty  citizens  of  Boston,  who  gener- 
ously presented  it  to  the  city  with  which  it  is  inseparably  identified. 

The  medal,  thus  transmitted  through  one  branch  of  the  family,  by  whom  its  true  and 
symbolic  value  as  a  memorial  was  fully  appreciated,  had  been  carefully  preserved ;  nor 
would  it  have  been  sold  save  for  the  pressure  of  circumstances,  and  to  a  city  in  which, 
to  every  one  who  considers  "  the  eternal  fitness  of  things,"  it  seems  right  that  it  should 
be  deposited. 


240 


Original  Portraits  of  Washington. 


This  medal  was  executed  by  Duvivier,  one  of  the  most  celebrated  of  French  engravers, 
and  is  a  beautiful  example  of  art.  Its  condition  is  perfect,  without  perceptible  blemish 
or  wear.  During  the  civil  war  it  was  in  possession  of  George  Lafayette  Washington,  whose 
country-home,  "  Harewood,"  was  not  far  from  Harper's  Ferry,  and  near  the  road  to  the  town 
of  Winchester,  of  which  thoroughfare  the  two  armies  held  alternate  possession.  For  purposes 
of  safe  keeping,  Mr.  Washington  placed  the  medal  in  its  original  case  of  green  seal-skin 
lined  with  velvet,  and,  enveloping  it  closely  in  cotton,  buried  it  in  a  box  in  a  dry  cellar. 

Prior  to  the  war,  this  gentleman  had  received  frequent  offers  for  the  purchase  of  the 
cherished  heir-loom  ;  but  he  would  not  part  with  it  as  long  as  it  was  possible  to  retain  it, 
and  then  was  only  willing  that  it  should  be  purchased  for  the  city  which  its  association 
would  obviously  designate.  After  his  death,  a  relative  in  Texas  made  known  this  fact  to 
the  mayor  of  Boston,  who,  with  the  co-operation  of  Hon.  Robert  C.  Winthrop  and  Hon. 
Otis  Norcross,  soon  secured  the  names  of  fifty  citizens,  —  forty-eight  gentlemen  and  two 
ladies,  —  who  subscribed  one  hundred  dollars  each  to  secure  this  valuable  medallic  memorial 
for  "  Boston  Town."  While  in  negotiation  for  the  purchase  of  the  medal,  Rev.  Dr.  Clemson, 
father  of  Mrs.  Washington,  —  through  whom  the  sale  was  made,  —  wrote,  Feb.  22,  1876  :  — 

"  I  might  say  the  medal  was  verbally  purchased  by  Gov.  Andrew  of  your  State ;  and  on  this 
honored  day  (Washington's  birthday)  it  was  to  have  been  presented  to  your  citizens,  but  his  prema- 
ture death  prevented  the  consummation." 

March  17,  1876,  the  centennial  of  the  reduction  of  Boston  was  observed  with  great 
enthusiasm.  The  committee  of  arrangements  ordered  the  celebration  of  the  day  to  begin 
"by  firing  salutes,  and  ringing  the  church-bells,  at  sunrise,"  which  were  repeated  at  noon 
and  sunset ;  "  that  the  occupants  of  stores  and  dwellings  on  Washington  Street  be  re- 
quested to  decorate  their  buildings ;  that  the  localities  of  the  fortifications  on  Boston 
Neck,  and  other  places  of  historic  interest  in  the  city,  be  decorated ;  that  Bunker  Hill 
Monument,  Dorchester  Heights,  and  the  principal  public  buildings,  be  illuminated ;  that 
the  general  Government  be  requested  to  fire  salutes  from  the  Navy  Yard  and  the  forts 
in  the  harbor ;  and  that  the  State  authorities  be  requested  to  illuminate  the  State  House. 
Citizens  resident  on  the  principal  squares  and  thoroughfares  are  requested  to  illuminate 
their  dwellings  on  the  evening  of  the  17th."  The  city  was  a  scene  of  general  rejoicing; 
but  the  most  interesting  ceremony  of  the  anniversary  was  the  formal  presentation  of  the 
Washington  Medal  in  Music  Hall. 

The  harmonious  coincidence  of  receiving  this  centennial  memorial  on  the  hundredth 
return  of  the  day  was  gracefully  appreciated  by  the  city  authorities ;  and  the  golden 
remembrancer  of  the  victory  was  welcomed  to  its  own  city  by  music,  prayer,  and  elo- 
quence.   Rev.  George  E.  Ellis,  D.D.,  was  the  orator  of  the  occasion  ;  and  his  able  and 


Busts,  Statues,  Monuments,  and  Medals. 


241 


exhaustive  address  (part  of  which  only  was  delivered,  but  which  was  afterwards  published 
in  full)  gives  not  only  a  sketch  of  the  medal,  but  an  historic  discourse  upon  the  siege 
and  capture  of  Boston. 

When  the  mayor  introduced  the  speaker,  and  gave  to  him  the  priceless  relic,  Dr. 
Ellis  pertinently  said, — 

"The  memorial  medal  which  you  put  in  my  hand  is  itself  the  golden  text,  and  substantially 
the  orator  and  discourse  of  this  day.  I  can  at  best  but  interpret  the  device,  and  expand  the  legend, 
of  this  precious  token." 

At  a  meeting  of  the  Board  of  Aldermen,  March  20,  Hon.  Samuel  C.  Cobb,  mayor, 
officially  announced  the  presentation  to  the  city  of  the  medal,  which  was  "  to  be  trans- 
ferred to  the  Trustees  of  the  Public  Library,  in  whose  custody  it  was  to  remain."  The 
preamble  and  names  attached  were  read  aloud  ;  and  as  they  will  from  this  time  be  links 
in  the  history  of  the  medal,  it  seems  appropriate  to  introduce  them  here. 

"The  large  gold  medal1  presented  to  Washington  by  Congress,  for  his  services  in  expelling  the 
British  forces  from  Boston  on  the  17th  of  March,  1776,  having  remained  in  the  Washington  family 
for  a  hundred  years,  is  now,  owing  to  the  circumstances  of  its  owners,  offered  for  private  sale. 
The  undersigned,  feeling  deeply  that  such  a  memorial  should  be  among  the  most  cherished  memo- 
rials of  our  city,  and  should  certainly  go  nowhere  else,  hereby  agree  to  be  responsible  to  the 
amount,  not  exceeding  one  hundred  dollars  each,  for  the  purchase  of  the  medal,  to  be  presented  to 
the  city  of  Boston,  and  preserved  forever  in  the  Boston  Public  Library. 
"  December,  1875." 


ROBERT  C.  WINTHROP. 

JOHN  AMORY  LOWELL. 

W.  AMORY. 

JOHN  L.  GARDNER. 

SAMUEL  C.  COBB. 

ROBERT  M.  MASON. 

CHARLES  FRANCIS  ADAMS. 

OTIS  NORCROSS. 

N.  THAYER. 

CORA  F.  SHAW. 

MARTIN  BRIMMER. 

WILLIAM  GASTON. 

EDWARD  AUSTIN. 

ABBOTT  LAWRENCE. 

H.  P.  KIDDER. 

JAMES  PARKER. 

H.  H.  HUNNEWELL. 


S.  D.  WARREN. 

NATHANIEL  J.  BRADLEE. 

J.  INGERSOLL  BOWDITCH. 

HENRY  L.  PIERCE. 

T.  G.  APPLETON. 

WILLIAM  APPLETON. 

WILLIAM  ENDICOTT,  Jun. 

CHARLES  FAULKNER. 

HENRY  LEE. 

WILLIAM  S.  APPLETON. 

MARY  BREWER. 

C.  A.  BREWER. 

GEORGE  C.  RICHARDSON. 

AMOS  A.  LAWRENCE. 

EBEN  C.  JORDAN. 

WALTER  HASTINGS. 

J.  HUNTINGTON  WOLCOTT. 


GEORGE  W.  WALES. 
E.  R.  MUDGE. 
WILLIAM  W.  TUCKER. 
HENRY  G.  DENNY. 
JAMES  L.  LITTLE. 
P.  C.  BROOKS. 
SIDNEY  BROOKS. 
ISAAC  THACHER. 
HENRY  A.  WHITNEY. 
RICHARD  C.  GREENLEAF. 
THOMAS  WIGGLESWORTH. 
ALVAH  A.  BURRAGE. 
ALEXANDER  H.  RICE. 
JAMES  DAVIS. 
E.  B.  BIGELOW. 
CHARLES  WHITNEY. 


1  In  "The  Medallic  History  of  the  United  States,"  by  J.  F.  Loubat,  an  exquisite  translation  of  this  medal  is 
rendered  by  the  celebrated  French  engraver,  Jules  Jacquemart. 


» 


242 


Original  Portraits  of  Washington. 


Whatever  device  or  monument  may  be  produced  in  the  future  to  honor  the  name  of 
Washington,  Boston  can  point  with  pride  to  her  gold  medal,  and  claim  it  to  be  the  first, 
—  unique.  History  teaches  that  to  no  agency  can  fame  so  confidently  trust  as  medallic 
mediums.  Deeds  of  greatness,  upon  which  tomes  have  been  written,  may  be  lost  in  the 
destruction  of  a  library ;  monuments,  columns,  statues,  must  crumble  in  the  lapse  of  time  : 
but  a  medal  upon  which  is  engraved  an  heroic  name  will  carry  that  name  safely  down  the 
ages.  It  may  be  entombed  for  centuries,  and  suddenly,  through  the  antiquarian's  zeal, 
flash  deed  and  name  upon  a  half-remembering  world.  If  every  effigy  of  Washington  be 
lost,  every  book  containing  his  name  be  destroyed,  every  being  speaking  the  English 
tongue  be  annihilated,  this  medal,  dug  from  the  bowels  of  the  earth,  would  bear  witness 
of  a  people  and  a  hero. 

The  Massachusetts  Historical  Society  is  the  fortunate  possessor  of  specimens,  in  silver, 
of  the  medals  ordered  by  the  Continental  Congress,  between  the  years  1776  and  1781,  for 
heroes  of  the  Revolution  whom  they  esteemed  as  being  deserving  of  special  recognition. 

It  is  said  that  the  French  Government,  ever  thoughtful  to  compliment  Washington, 
ordered  this  complete  series  to  be  struck  in  silver,  and  sent  to  him  at  Mount  Vernon, 
which  was  done  under  the  direct  supervision  of  Lafayette.  At  the  sale  of  Washington's 
effects  they  were  catalogued  by  the  appraisers  as  "Medals  in  a  case — [Value]  $50.00," 
and  became  the  property  of  a  nephew,  Lawrence  Lewis,  from  whom  they  descended  to 
his  son.  In  1825  Daniel  Webster,  while  reading  the  morning  paper  at  the  capital,  was 
attracted  by  a  pawnbroker's  advertisement  of  "  Washington  medals  for  sale."  He  immedi- 
ately investigated  the  matter  ;  and  discovering  that  they  had  first  been  pawned,  and  then 
sold,  and  that  they  were  once  undoubtedly  the  property  of  Washington,  he  bought  the 
case,  and  offered  to  return  the  valuable  memorials  to  the  family.  Judge  Bushrod  Wash- 
ington, one  of  the  administrators  then  living,  refused  Mr.  Webster's  kind  offer,  saying, 
"  I  am  childless,  and  not  rich  ;  in  a  few  years  at  the  longest  the  same  process  will  have 
to  be  gone  over  again  ;  and,  as  the  medals  are  now  in  good  hands,  I  pray  you  to  keep 
them."  The  case  of  medals  remained  in  possession  of  Mr.  Webster  for  a  quarter  of  a 
century,  and  then  passed  into  the  hands  of  the  Hon.  Peter  Harvey.  By  him  they  were 
presented  to  the  Massachusetts  Historical  Society,  as  will  be  seen  by  an  extract  from  the 
Proceedings  of  the  Society,  1875-76:  — 

"In  accordance  with  a  vote  of  the  society,  an  inscription  was  placed  on  the  case  of  medals:  — 

This  case  of 
Eleven  Medals, 
originally  the  property  of 
Washington, 


1 


Busts,  Statues,  Monuments >  and  Medals.  243 

afterwards  of 
Webster, 
was  presented  to  the 
Massachusetts  Historical  Society 
April  16th  1874, 
by  the 
Hon.  Peter  Harvey^ 

Mr.  Harvey,  in  his  graceful  presentation  address,  gives  an  interesting  historic  sketch, 
concluding  with  remarks  which  are  commended  to  the  serious  consideration  of  individuals 
who  own  valuable  relics.    He  said,  — 

"  Mr.  Webster  placed  a  very  high  value  on  these  memorials,  as  having  been  struck  in  Paris, 
under  the  supervision  of  Gen.  Lafayette,  as  a  gift  to  Washington,  and,  it  is  believed,  by  order  of  the 
French  Government ;  thus  associating  them  with  three  of  the  most  distinguished  personages  in  our 
history,  —  Washington,  Lafayette,  and  Webster.  The  simple  statement  of  the  fact  that  less  than 
three-fourths  of  a  century  from  the  time  they  were  presented  to  the  illustrious  Father  of  his  Country 
finds  them  in  my  possession  is  quite  sufficient  to  show  that  such  memorials  and  historic  treasures 
should  not  be  left  to  the  changes  and  chances  of  individual  ownership.  Entertaining  these  views,  I 
beg  leave  to  place  them  in  the  custody  of  the  Massachusetts  Historical  Society." 

Of  the  many  medallic  offerings,  none  approach  in  importance  the  one  designated  in  the 
Mint  Catalogue  as  "Washington  before  Boston  ;"  and  yet  offerings  of  this  kind  are  counted 
by  hundreds.  A  volume  containing  notices  of  the  most  valuable  of  these  was  written  by 
Hon.  James  Ross  Snowden.  One  hundred  and  thirty-eight  specimens  are  accurately  described 
in  this  work,  from  the  "  Washington  before  Boston  "  to  the  latest  official  order  of  the  Mint, 
called  "The  Cabinet  Medal,"  Feb.  22,  i860.  Not  only  medals  are  included  in  Director 
Snowden's  description,  but  all  memorials  of  Washington  deposited  in  the  Mint.  This 
officer  inaugurated  a  national  cabinet  of  "  Washington  Medals,"  with  the  laudable  purpose 
of  securing  them  from  loss;  and  the  "Cabinet  Medal"  was  struck  to  commemorate  that 
act. 

A  small  work  published  in  1873,  entitled  "  Description  of  Washington  Medals  in  the 
Collection  of  W.  S.  Appleton,"  embraces  three  hundred  and  nine  specimens,  all  of  which, 
save  twelve,  are  in  possession  of  that  learned  numismatist.  So  complete  a  series  as  this 
cannot  again  be  acquired  ;  so  that  Boston  may  be  considered  far  more  favored  than  other 
cities  in  medallic  memorials  of  Washington.  With  few  exceptions,  Washington  medals 
have  been  offerings  of  associations,  lodges,  and  individual  admirers  ;  and,  as  there  is  no 
restriction  in  issuing  medals,  a  number  of  them  dedicated  to  Washington  have  been  degraded 
into  advertisements.    Nothing  can  cheapen  the  true  value  of  a  national  medal.;  yet  the  full 


244 


Original  Portraits  of  Washington. 


license  allowed  in  striking-  medals,  and  trading  in  the  same,  has  the  unhappy  effect  of 
vitiating  public  taste,  and  multiplying  inferior  numismatic  specimens. 

While  it  is  impossible  even  to  mention  many  of  the  more  important  Washington 
medals,  —  much  less  to  justly  describe  them,  this  paper  having  reference  only  to  the  one 
ordered  by  Congress,  —  yet  a  few  remarks  upon  some  of  the  more  famous  are  offered. 
One  peculiarity  cannot  fail  to  impress  the  numismatist ;  which  is,  that,  of  the  large  number 
of  Washington  medals  in  the  Mint  cabinet,  one  only  perpetuates  an  event  of  war,  and  that 
one  the  national  medal,  "Washington  before  Boston."  All  others  illustrate  some  associa- 
tion of  personal  friendship  ;  such  as  those  having  the  heads  of  Washington,  Lafayette,  and 
Kosciusko,  or  Washington  and  Franklin.  Others  are  Masonic ;  and  others  still  portray 
such  events  in  his  life  as  recall  his  interest  in  all  the  arts  of  peace,  especially  that  occu- 
pation which  he  loved  so  well,  —  agriculture.  The  author,  W.  Elliott  Woodward,  in  an 
interesting  monograph  entitled  "  List  of  Washington  Memorial  Medals,"  describes  forty- 
eight  on  which  the  dates  of  his  birth  and  death  are  inscribed.  Of  this  class,  perhaps  the 
most  desirable  is  known  as  the  "  Perkins  Medal,"  or  "  Funeral  Medal."  Obverse  :  bust  of 
Washington  facing  left,  crowned  with  a  wreath  of  laurel.  Legend  :  "  George  Washington." 
Reverse  :  a  tomb  inscribed  "  Victor  sine  clade  ;  "  the  tomb  surmounted  by  an  urn,  beside 
which  stands  a  child  weeping.  On  the  left,  in  the  background,  Grief  is  impersonated  by 
a  female  figure  standing  near  the  insignia  of  war,  supporting  the  shield  of  the  United 
States.  Inscription  :  "  He  in  glory,  the  world  in  tears!'  Three  varieties  of  this  medal  were 
issued  in  Massachusetts,  and  worn  by  old  and  young  at  the  Washington  obsequies,  which 
there,  as  throughout  the  Union  and  in  many  European  countries,  were  solemnly  cele- 
brated Feb.  22,  1800.  Such  medals,  known  to  have  been  worn  on  that  occasion,  are 
retained  in  old  families  as  highly-prized  relics.  The  "  Eccleston  Medals,"  of  which  there 
are  two  varieties,  are  graceful,  and  full  of  poetic  strength.  Obverse  :  bust  of  Washington. 
Reverse  :  an  Indian  leaning  on  a  bow,  with  an  arrow  in  his  hand.  Encircling  this  figure 
the  significant  words,  "The  land  was  ours;"  the  whole  surrounded  with  this  legend,  "He 
laid  the  Foundation  of  American  Liberty  in  the  XVIII  century.  Innumerable  millions,  yet 
unborn,  will  venerate  the  man  who  obtained  their  country's  freedom."  This  was  designed 
and  executed  upon  the  order  of  Mr.  Eccleston,  an  English  gentleman,  and  a  devoted 
admirer  of  Washington. 

The  first  Indian  or  peace  medal  —  tokens  which  have  had  conspicuous  part  in  our 
dealings  with  the  aborigines  —  has  on  its  obverse  a  bust  of  Washington  on  a  pedestal, 
on  the  right  side  of  which  is  the  figure  of  Liberty,  and  on  the  left  an  Indian  chief. 
An  Indian  medal,  claimed  to  have  been  issued  in  1786,  was  placed  in  the  foundation- 
stone  of  the  Washington  National  Monument.  If  the  date  is  correctly  given,  it  was  not 
a  government  medal.    The  "Wright  Medal"  has  a  well  cut,  undraped  bust  of  Washing- 


Busts,  Statues,  Monuments,  and  Medals. 


245 


ton  on  the  obverse.  It  has  two  reverse  sides,  —  one,  a  fine  rendering  of  Trumbull's  his- 
toric painting,  "  The  Signing  of  the  Declaration  of  Independence ; "  and  the  second,  a 
tablet  of  eighteen  important  events  in  the  history  of  this  country,  beginning  with  the 
"  Discovery  of  North  America  by  the  English,  July  3,  1497,"  and  concluding  with  the 
"Assault  on  Quebec,  by  Americans,  Dec.  31,  1775." 

The  Manley,  or  "  Blacksmith's  Medal,"  demands  attention,  not  only  because  it  was 
received  by  contemporaries  of  Washington  as  a  striking  representation  of  the  President, 
but  because  it  was  issued  in  1790,  and  is  one  of  the  first  medallic  works  known  to  have 
been  executed  in  this  country.  The  medal  is  doubtless  after  the  head  of  Washington  by 
Joseph  Wright ;  for  the  lines  are  strong  and  realistic,  as  was  the  manner  of  that  artist. 
It  was  engraved  and  sold  by  J.  Manley,  whose  name  it  perpetuates.  Obverse :  bust  of 
Washington  in  uniform,  facing  to  the  left ;  legend,  "  George  Washington,  Born,  Virginia," 
with  the  date  beneath,  "Feb.  11,  1732."  Reverse:  "General  of  American  Armies,  1775. 
Resigned,  1783.  President  of  United  States,  1789."  The  only  example  in  gold  known  to 
be  in  existence  of  the  "Blacksmith's  Medal"  is  owned  by  Mr.  William  S.  Appleton. 

Several  of  the  one-cent  pieces  first  issued  by  the  United-States  Mint  displayed  the 
head  of  Washington ;  but,  as  long  as  the  Government  endures,  it  will  be  remembered 
that  Washington  would  not  allow  his  head  to  be  placed  upon  coins ;  and  finally,  in  con- 
sequence of  this  objection,  a  law  was  passed,  that,  "  upon  one  side  of  said  coins,  there 
shall  be  an  impression  emblematic  of  liberty." 

Of  foreign  medals,  the  most  beautiful  and  numerous  were  issued  in  France.  Her 
monarch,  courtiers,  and  citizens  were  at  least  united  in  sentiments  of  exalted  esteem  for 
the  American  hero.  A  description  of  one  French  medal  will  conclude  this  chapter.  It 
antedates  the  Boston  medal;  having  been  struck  in  Paris  as  early  as  1778,  and  was 
designed  by  Voltaire.  The  obverse  presents  the  head  of  Washington,  which  is  not  a 
recognizable  likeness,  as  at  that  time  there  was  not,  as  far  as  known,  even  his  portrait  in 
France.  Legend :  "  G.  Washington,  Em  General  of  the  Contin.  Army  in  America."  Re- 
verse :  martial  emblems  surrounded  by  diverging  rays.  The  inscription  or  motto  encircling 
these  is  a  terse  utterance  worthy  of  the  great  French  philosopher :  "  Washington  reunit 
par  un  rare  assemblage  —  les  talens  du  Guerrier  and  les  vertus  du  sage." 


INDEX. 


INDEX. 


A. 

Abert,  Col.  J.  J.,  214. 

Adams,  Charles  Francis,  44,  241. 

Aclams,  John,  24,  44;  picture  of,  by  Winstan- 

ley,  in  Boston  Museum,  93;  friendship  of, 

for  Washington,  236. 
Adams,  John  Quincy,  14,  16,  212,  214. 
Adams,  Louisa  Francis,  214. 
Aclams,  Samuel,  "  the  man  of  the  Revolution," 

149. 
Aiken,  133. 
Albemarle,  Earl  of,  9. 
Alexander,  Cosmo,  Scotch  painter,  77. 
Aliamet,  noted  French  engraver,  39. 
Allen,  Joseph,  163. 

Allston,  Washington,  obituary  of  Stuart  by, 
78-80. 

"  American  Column,"  the  location  and  de- 
scription of,  137. 

Amory,  Mrs.  Charles,  2. 

Amory,  W.,  241. 

Anderson,  Dr.,  61. 

Anderson,  Mrs.  Archer,  51. 

Andre,  execution  of,  65. 

Andrew,  Gov.,  240. 

Andrews,  Joseph,  108. 

Appleton,  Mrs.  Emily  W.,  100,  104. 

Appleton,  J.  W.  M.,  152. 

Appleton,  Nathan,  fine  examples  of  the  artist 
Sharpless  in  possession  of,  130. 

Appleton,  T.  G-,  241. 

Appleton,  William,  241. 

Appleton,  William  H.,  98,  104. 

Appleton,  William  S.,  241,  243,  245. 

Audubon,  John  Woodhouse,  105. 

Austin,  Edward,  241. 


Austin,  Samuel,  236. 
Avery,  Samuel  P.,  94,  105. 

B. 

Bacon,  Henry,  "  Boston  Boys"  by,  21. 

Bailey,  Joseph  A.,  unveiling 'of  statue  by, 
presented  by  First  School  District  of  Penn- 
sylvania, 1S4  ;  contract  made  with,  for  statue 
of  Washington,  185. 

Baker,  Gardner,  83,  87,  103. 

Baker,  William  S.,  the  best  authority  upon 
engraved  heads  in  this  country,  109. 

Ball,  Judge  Charles  Washington,  17. 

Ball,  Miss  Mary,  196. 

Ball,  Thomas,  equestrian  statue  of  Washing- 
ton by,  183. 
Balmain,  Rev.  Dr.,  16 

Barbiere-Walbonne,  Jacques  Luc,  miniatures 
of  Washington  by,  29  ;  sent  by  Louis  XVI. 
to  America,  29 ;  pupil  of  David,  and  fa- 
mous for  his  military  portraits,  29. 

Barker,  Mrs.  Augusta  Peale,  121. 

Barker,  Mr.  Jacob,  89. 

Barlow,  Mr.,  89. 

Barney,  Charles  G.,  11 1. 

Barralet,  Jon.  Jas.,  113. 

Barry,  Robert,  95,  103. 

Bartholomew,  Edward   Sheffield,   statue  of 

Washington  at  Rome  in  1857  by,  180. 
Bartholdi,  statue  of  Liberty  by,  179. 
Bassett,  Col.,  138. 
Bassett,  Mr.  Burrett,  156. 
Bassett,  Frances,  157. 
Bassett,  the  two  Misses,  156. 
Beale,  Mr.  Benjamin  F.,  52. 
Beck,  copied  in  marble  work  by  Rush,  172. 


Beck,  Benjamin,  101. 

Beck,  George,  100;  justly  considered  the 

pioneer  artist  of  the  West,  100. 
Beck,  Paul,  97,  103. 
Beck,  H.  P.,  151. 
Bedford,  Mr.,  148. 
Beekman,  Theophilas,  69. 
Belknap,  Edward,  Esq.,  56. 
Belknap,  Miss  Elizabeth,  56. 
Belknap,  Dr.  Jeremy,  55,  56. 
Bell,  Shubael,  chief  assistant  of  Rev.  Asa 

Eaton,  146. 
Benson,  Rob.,  69. 
Bertini,  173. 

Bickerstaff's  Almanac,  20. 

Bigelow,  E.  B.,  241. 

Bingham,  Mr.  William,  87,  103. 

Bingham,  Mrs.  William,  81. 

Biographer  of  Copley,  1. 

Birch,  William,  an  English  enamel-painter, 
no;  first  enamel  made  in  this  country  was 
by,  no;  crayon-sketch  of  Washington  by, 
no. 

Blackburn,  Col.  and  Lady,  6. 
Blagden,  Thomas,  214. 
Blake,  Dr.  J.  B.,  218. 
Bland,  Mr.,  147. 
Blight,  Atherton,  13. 

Blight,  George,  96,  104;   portrait  in  glass 

owned  by,  106. 
Blight,  James,  96. 
Bocock,  Hon.  Thomas  S.,  181. 
Bogart,  Dr.,  51. 
Bogart,  Mr.  Cornelius,  51. 
Bolivar,  Simon,  1 16. 

Bone,  W.,  enameller  to  George  III.,  1 11. 
Bordley,  Miss  Elizabeth,  139. 

249 


4 


250 


Index. 


Bordley,  John  Beale,  139. 

Borie,  A.  E.,  13. 

Boteler,  Hon.  A.  S.,  142. 

Botta,  Carlo  Giuseppe  Guglielmo,  14. 

Bounetheau,  Pet.,  70. 

Bowditch,  J.  Ingersoll,  241. 

Boydell,  Alderman,  74. 

Braddock,  Gen.,  1,  6,  9,  101. 

Bradlee,  Nathaniel  J.,  241. 

Bradley,  Joseph  A.,  214. 

Bradley,  Wm,  A.,  214. 

Brand,  Rev.  William  F.,  18. 

Braxton,  Miss  E.  R.,  owner  of  an  ingenious 

portrait  by  E.  Sharpless,  132. 
Breckenridge,  181. 
Breck,  Samuel,  56. 
Brehan,  Madame  de,  48. 
Brent,  Daniel,  88. 
Brent,  William,  121,  213. 
Brent,  Samuel,  16. 
Brevoort,  Henry,  39. 
Brevoort,  J.  Carson,  39,  134. 
Brewer,  C.  A.  F.,  241. 
Brewer,  Mary,  241. 
Brien,  Edward,  93,  103. 
Brien,  L.  Tiernan,  94. 
Brien,  Mrs.,  93. 

Briggs,  Mrs.  Emily  Edson,  164. 
Brimmer,  Martin,  241. 
Brooke,  Judge,  157,  159,  161. 
Brooks,  P.  C,  241. 
Brooks,  Sidney,  241. 
Brown,  Charles,  98,  103. 
Brown,  Dr.,  6. 

Brown,  Henry  Kirke,  159,  164;  his  evidence  of 
the  genuineness  of  the  Houdon  cast,  168; 
first  equestrian  statue  of  Washington  by, 
and  its  description,  178,  179. 

Browne,  Mr.  Peter  A.,  97,  103. 

Bruce,  Edward  F.,  17. 

Bruhl,  Count  de,  34. 

Bryan,  Hon.  G.  S.,  entries  by,  in  biographi- 
cal sketch  of  Fraser,  144. 

Bryan,  Thomas  J.,  15,  99,  103. 

Buchanan,  James,  1S1,  182,  198,  200. 

Buchan,  Earl  of,  10,  58,  59;  a  Scotch  noble, 
61  ;  letter  of,  accompanying  the  "  Wallace 
Box,"  61. 

Buchlcr,  Mr.  William,  97,  104;  a  fine  work  by- 
Stuart  owned  by,  97. 
Buren,  Martin  Van,  214. 
Burgoyne,  surrender  of,  18,  76. 
Burragc,  Alvah  A.,  241. 

Burt,  Charles,  49;  exquisite  engraving  by,  for 
the  "  Life  and  Works  of  Gilbert  Stuart,"  94. 
Busts,  statues,  monuments,  and  medals,  146. 
Buttre,  47  ;  engraving  by,  52. 


c. 

Campisell,  Alexander,  portrait  of  Wash- 
ington by,  unknown  to  Washington,  22. 

Canova,  Antonio,  the  greatest  sculptor  of 
modern  Italy,  170;  executed  first  work  of 
sculpture  in  the  Old  World  in  form  of 
statue,  173. 

Carbery,  Thomas,  214. 

Carmichael,  William,  8. 

Carroll,  Mr.  Charles,  89,  121. 

Carroll,  Daniel,  101,  103. 

Carson,  Joseph,  M.D.,  13. 

Carter,  Mrs.  Eleanor,  19. 

Cary,  153. 

Casey,  Col.  Thomas  Lincoln,  U.S.A.,  218. 
Cass,  Lewis,  214. 
Cassoul,  M.,  141. 

Causici,  Andre,  sculptor,  from  Verona,  of 
Robert  Mills's  monument,  201. 

Cazenove,  Mr.,  of  Switzerland,  50. 

Ceracchi,  Giuseppe,  Italian  sculptor,  147; 
linked  in  fame  with  Canova,  170;  made 
three  busts  of  Washington,  170;  third  bust 
by,  retained  by  the  artist,  171,  173. 

Charming,  Dr.  William  F.,  letter  of,  93,  103. 

Channing,  Mrs.  William  E.,  93. 

Chantrey,  Sir  Francis,  in  the  main  hall  of 
State  House  at  Boston  stands  a  noble 
statue  of  Washington  by,  174. 

Chapman,  105. 

Chapman,  Dr.  Nathaniel,  63. 

C  happeH,  105. 

Cheesman,  Thomas,  71,  75,  76;  engraving  by, 

of  Washington,  by  far  the  best  translation 

of  the  painter  Trumbull,  175. 
Chesnut,  John,  ioi,  103. 
Chesnut,  James,  101. 
Childs,  George  W.,  13,  14,  109. 
Chipman,  217. 
Claghom,  James  L.,  13,  126. 
Clark,  artist,  165. 
Clark,  E.  W.,  &  Co.,  13. 
Clark,  Rev.  Thomas  M.,  bishop  of  Rhode 

Island,  distinguished  native  of  Newbury- 

port,  190. 
Clay,  H.,  212. 

Claypoole,  David  C,  editor  of  "The  Daily 
Advertiser "  of  Philadelphia,  in  which  was 
published  the  Farewell  Address  of  Wash- 
ington, 42;  portrait  for,  by  Peale,  42. 

Clemson,  Rev.  Dr.,  240. 

Clinton,  170. 

Clitherall,  Dr.  G.  C,  U.S.A.,  94.  95. 
Coan,  F.,  14. 

Cobb,  lion.  Samuel  C,  241. 
Codman,  Mrs.  Arthur,  56. 


Coffin,  Edward  F.,  190. 

Coles,  Mr.  Edward,  97,  104. 

Coles,  John,  7. 

Collins,  Frederick,  13. 

Col  well,  Stephen,  12. 

Comegys,  John,  198. 

Conde,  le  Prince  de,  67. 

Conrad,  Lawrence  Lewis,  115. 

Constable,  Mr.  William,  85,  86,  103. 

Cooke,  Messrs.  Jay,  &  Co.,  13. 

Coolidge,  T.  Jefferson,  99,  103. 

Copley,  miniature  of  Washington  by,  I  ;  first 
artist  who  painted  American  flag  in  Eng- 
land, 3. 

Copley,  Miss  Mary,  2. 

Corbin,  153. 

Corcoran  Gallery  of  Art,  Washington,  D.C.,  8 ; 
copy  of  only  miniature  of  Washington 
engraved  by  St.  Mcmin  is  in  St.  Memin 
collection  at,  134 ;  the  most  priceless  col- 
lection of  heads,  134,  170. 

Corcoran,  W.  W.,  17,  89,  102,  218,  220. 

Cox,  Col.  John,  102. 

Cox,  S.  S.,  217. 

Coxe,  Peter,  81. 

Craft,  Mrs.  M.  M.,  60. 

Craig,  Mrs.  William,  96. 

Cranch,  Judge,  121. 

Crawford,  Thomas,  sculptor,  33,  89;  his  opin- 
ion of  Joseph  Wright,  33;  bronze  statue  of 
Washington  by,  176. 

Crevecceur,  Hector  St.  John  de,  49. 

Croley,  Dr.,  13. 

Crosby,  Col.  J.  Schuyler,  9S,  104. 
Crosby,  William,  98. 
Curtenius,  Peter  J.,  69. 

dishing,  Hon.  Caleb,  distinguished  son  of 
Newburvport,  190. 

Custis,  Eleanor  Parke,  a  very  accomplished 
woman,  Latrobe's  opinion  of  portrait  of, 
in  "  Vcardley  Collection,"  138;  silhouette 
by,  valuable  because  it  corroborates  the 
faithfulness  of  St.  Memin,  13S,  139. 

Custis,  Eliza  P.,  128. 

Custis,  George  Washington  Parke,  6,  24,  47, 

72,  117,  128,  161,  165,  168,  193,  214. 
Custis,  Miss  Helmer.  59. 
Custis,  Major  John,  138. 
Custis,  John  Parke,  5,  130. 
Custis,  Nelly  (Mrs.  Lewis),  46,  48,  51,  72. 
Cuvier,  120. 

D. 

Dahlgren,  Mrs.  Admiral,  102,  104. 
Dale,  Mrs.,  96. 

Dallam,  Major  William  S.,  101. 
Dandridge,  Mr.,  137. 


Index. 


251 


Dandridgc,  Miss,  3  ;  owner  of  portrait  similar 

to  one  under  discussion,  3. 
Darley,  105 

Darling,  Mrs.  C.  W.,  59. 

Davenport,  Hon.  John,  71. 

David,  Barbiere-Walbonne,  pupil  of,  29. 

Davis,  Capt.,  217,  218. 

Davis,  Charles  Augustus,  50. 

Davis,  James,  241. 

Davis,  Mr.  I.  I'.,  52,  91,  99,  103. 

Dean,  Mr.,  50,  1S1. 

De  Hart,  Miss,  silhouette  of  Washington  by, 

26. 

De  Mare,  Copley's  miniature,  engraved  by, 
for  Irving's  "  Life  of  Washington,"  I. 

Denny,  Henry  G.,  241. 

Depeyster,  Mr.  Robert  S.  S.,  89. 

Derby,  Mrs.,  139. 

D'Estaing,  Count,  7. 

Deville,  a  French  artist,  164,  168. 

Dexter,  Elias,  30;  publisher  of  Robertson's 
picture  of  Washington,  61. 

Dexter,  Mr.  Samuel,  88. 

Dickinson,  Gov.,  40. 

Dinner,  a  family,  described,  59. 

Dix,  Miss  Dorothea,  182. 

Doggett,  Mr.,  100,  103. 

Donaldson,  Hon.  Thomas,  142. 

Doolittle,  109. 

Dorsey,  Mr ,  106. 

Dougherty  and  Berry,  Messrs.,  213. 
Downing,  Major  Jacl<,  50. 
Drake,  assertion  of,  in  regard  to  bust  of  Wash- 
ington, 147. 
Dreer,  Ferdinand  J  ,  151,  172. 
Dudensing,  engraver,  135. 
Duer,  Mrs.,  27. 
Duhamcl,  C,  29. 
Duncan,  Alexander,  9. 

Dunlap,  William,  portraits  of  Washington 
by,  30 ;  never  won  renown  as  an  artist,  but 
an  active  promoter  of  art,  vice-president 
of  National  Academy  of  Design,  30;  pen 
sketch  by,  30,  31,  53;  biography  of  Stuart 
by,  78,  88  ;  referred  to,  95,  103,  170. 

Dupre,  25,  239. 

Durand,  76,  109,  165. 

Duvivier,  French  artist,  23S;  executed  Wash- 
ington medal,  240. 
Dyk,  John  Van,  69. 

E. 

Earle,  Mr.,  122. 

Eaton,  Rev.  Asa,  the  first  organizer  of  Sunday 
schools  in  the  country,  146;  former  pastor 
of  Christ  Church,  147. 

Eccleston,  executed  bust  of  Washington,  150. 


Echstein,  John,  second  engraver  United  States 
Mint,  executed  from  life  a  miniature  bust  of 
Washington,  150. 

Eddy,  R.,  13. 

Edwards,  Mrs.  Susan  Washington,  m. 

Edwin,  David,  a  famous  story-teller,  46;  his 
humorous  description  of  a  journey,  46;  de- 
voted admirer  of  Stuart,  108. 

Ellenborough,  Lord,  60. 

Ellis,  Rev.  George  E.,  D.D.,  240. 

Ellsworth,  Mr.,  147. 

Elsworth,  William  J.,  69. 

Endicott,  William,  jun.,  241. 

Engravings  of  Stuart's  Washington  outnumber 
fivefold  those  of  any  other  artist,  108. 

Erskine,  David  Stuart,  Earl  of  Buchan,  61. 

Etting,  Miss  Richsa  G..  95 

Etting,  Solomon,  95,  103. 

Eugene,  Prince,  35. 

"  Evacuation  of  Boston,"  medal  struck  com- 
memorative of  the,  235. 
Evans,  Mrs.  Eliza  M  ,  132. 
Everett,  Edward,  129. 
Ewell,  Col.  Benjamin  S..  137. 
Ewing,  Judge  John  Hoye,  96,  104. 
Eyre,  Mrs.  Wilson,  115. 

F. 

Fairfax,  Col.,  40. 
Falls,  Moor,  95,  103. 
Faulkner,  Charles,  241. 
Fell,  J.  G.,  13. 
Felton,  Mr.,  96. 
Fendall,  P.  R.,  214. 

Field,  Robert,  5 ;  engraver  and  amateur 
painter,  115;  executed  three  miniatures  of 
Washington  and  one  of  his  wife,  115. 

Fillmore,  Millard,  212,  214. 

Fine  Arts,  Pennsylvania  Academy  of,  4. 

"  First  in  war,  first  in  peace,  and  first  in  the 
hearts  of  his  countrymen,"  the  immortal 
words  of  Richard  Henry  Lee,  175. 

Fischer,  George,  &  Brothers,  recent  statue  of 
Washington  erected  at  Newburyport,  cast 
by,  189. 

Fish,  Hon.  Hamilton,  46,  164;  owns  the  best 
authenticated  bust  of  Washington  in  marble, 
by  Houdon,  164. 

Fisher,  Mr.  George  Harrison,  140. 

Fisher,  Joshua  Francis,  140. 

Fisher,  Micrs,  129. 

Fisher,  Robert  I.,  97. 

Folwel,  Samuel,  miniature-painter,  account  of 

his  profile  likeness  of  Washington,  140. 
Foggo,  Mrs.  Annie  Hopkinson,  32. 
Force,  Peter,  214. 


Forest,  Mr.  William,  124. 
Forest,  Col.,  125. 
Fox,  Charles,  21. 

Fox,  Daniel  M.,  mayor  of  Philadelphia,  184. 

Francis  (Lord  Napier),  10. 

Franklin,  Benjamin,  25,  32,  154,  155,  158,  159. 

Franks,  Hon.  Samuel  D.,  97,  103. 

Fraser,  Charles,  71  ;  not  only  beloved  as  a 

man,  and  admired  as  an  artist,  but  also  an 

able  writer,  144;  his  epitaph  on  Charles 

Cotesworth  Pinckney,  144,  145. 
Fraser,  Miss,  144. 
Frederic  the  Great,  35. 
Freeborn,  Miss  Josephine,  186. 
French,  Benjamin  B.,  Masonic  address  by,  216. 
Frothingham,  Mr.  James,  86;  favorite  pupil 

of  Stuart,  86. 
Fullerton,  Nathaniel,  portrait  of  Washington 

by,  21;  an  enthusiastic  amateur  artist,  21; 

account  of,  21. 
Fulton,  Robert,  drawings  of  events  in  which 

Washington  figured,  by,  28. 

G. 

Gaither,  117. 
Gallatin,  Albert,  212. 
Gardner,  John  L.,  241. 

Garfield,  Gen.  James  A.,  102;  extract  from 

eloquent  address  of,  102. 
Gaston,  William,  241. 
Gates,  Gen.,  26,  64. 
Gatteau,  engraver,  239. 
George  III.,  65. 
Gibbs,  Col.,  99. 
Gibbs,  Mrs.,  164. 
Gibbs,  Col.  George,  93,  103. 
Gibbs,  Gov.  George,  99,  103. 
Gibson,  Mrs.  Elizabeth  Bordley,  84,  139,  149. 
Gibson,  James,  97,  103. 
Gilbert,  Hon.  Ezekicl,  anecdote  of,  105. 
Gilbert,  Dr.  William  K.,  15,  149. 
Gill,  Mr.  William  Fearing,  19. 
Gilmor,  Robert,  92 ;  generous  art-patron,  102. 
Girard,  M.,  12. 

Goldsborough,  Mrs.  George  R.,  128. 
Goodhue,  B.,  36 ;  contemporary  of  Washing- 
ton, 36. 

"Goodhue  Portrait,"  the  most  valuable  por- 
trait of  Washington,  by  Joseph  Wright,  37. 

Goodrich,  Chauncey,  90. 

Goodrich,  Hon.  C.  S.,  U.S.  Consul,  Lyons, 
France,  106. 

Gordon,  Rev.  Dr.,  58. 

Gage,  Gen.,  Fullerton's  indignant  protest  to, 

or  one  of  the  "Boston  Boys,"  21. 
Gray,  Hon.  Horace,  100,  103. 


252 


Index, 


Green,  Gen.,  239. 

Green,  Mrs.  Gen.,  59. 

Green,  Mrs.  Gardner,  2. 

Green,  Mr.  Jasper,  51. 

Green,  V.,  67. 

Greenleaf,  John,  96,  103. 

Greenleaf,  Richard  C,  241. 

Grecnough,  Horatio,  position  and  description 

of  statue  of  Washington  by,  175. 
Greyson,  Mr.,  157. 
Griffith,  T.  W.,  164. 

Griswold,  author  of  "  Republican  Court,''  146. 

Giilager,  Christian,  first  sketch  of  Washing- 
ton by  stealth  by,  54 ;  opened  in  Boston  a 
free  museum  of  paintings  and  curiosities, 
54;  called  the  "Father  of  the  Eagle,"  54; 
his  Boston  Oratorio  Fortrait  of  Washing- 
ton, 56;  in  some  respects  superior  to  Stuart, 
56 ;  said  to  have  modelled  a  bust  of  Wash- 
ington, 146,  147. 

H. 

Hagner,  Judge,  105. 

Hall,  George  E.,  engraver,  177,  179. 

Hall,  II.  B.,  41,  43;  engraving  by,  52,  127, 

133.  '65.  171. 
Hamilton,  Alexander,  86. 
Hamilton,  Alexander,  of  New  York,  86,  103. 
Hamilton,  Elizabeth,  214. 
Hancock,  Gen.,  99. 
Hancock,  Hon.  John,  7,  235. 
Hancock,  Mrs.,  54. 
Hand,  Gen.  Edward,  93. 
Hand,  Thomas  C,  13. 
Hansford,  Milton,  2. 
Hare,  Mr.  D.  O.,  213. 

Harris,  Mr.,  first  to  propose  making  an  appro- 
priation for  monument  to  Washington,  195. 

Harrison,  Gov.,  13,  158. 

Harrison,  Mrs.  Gessner,  94. 

Harrison,  Joseph,  7,  12,  103;  an  interesting 
Stuart  in  the  collection  of  the  late,  91. 

Hart,  Miss  de,  27. 

Hartshorn,  Capt.,  145. 

Harvard  College,  portrait  painted  for,  by 
Savage,  45. 

Harvey,  Hon.  Peter,  242  ;  presents  a  case  of 
eleven  medals  to  Massachusetts  Historical 
Society,  242,  243. 

Hastings,  Walter,  241. 

Hayden,  Sydney,  publisher,  141. 

Hayes,  President  and  Mrs.,  102,  218. 

Healy,  G.  P.  R.,  101. 

Heath,  Vernon,  9,  153. 

Hector,  Charles  (Count  d'Estaing),  7. 

Henderson,  Gen.  A.,  154,  214. 


Henry  of  Luidhon,  35  ;  brother  of  Frederic 

the  Great,  35. 
Henry,  Mathcw,  97. 
Henry,  Patrick,  176. 
"  Herman  the  Liberator,"  192. 
Hesselius,  instructor  of  Pcale,  4,  50. 
Hesselius,  pastor  of  the  first  Swedish  church 

of  Wilmington,  Del.,  50 
Hill,  90. 

Hillhouse,  Hon.  James,  90,  129. 
Hiller,  J.,  Jr.,  92,  145. 
Hoffman,  David,  129. 
Hoffman,  Francis  S.,  129. 
Hoffman,  Peter,  sen.,  129. 
Holl,  109. 

Holland,  Hon.  Nathaniel,  107. 

Holloway,  T.,  92  ;  engraving  by,  93  ;  known 

as  Vaughan  picture,  93. 
Holly,  Mrs.,  215. 
Homer,  George,  Esq.,  149. 
Honninghous,  Mr.,  14. 
Hopkins,  235. 

Hopkinson,  Francis,  32,  39,  41. 

Hoppner,  John,  popular  portrait-painter,  32. 

Hough,  Franklin  B.,  127. 

House,  James,  92. 

Houston,  William  C,  13,  113. 

Howard,  Mrs.  Benjamin  Chew,  95,  103. 

Howard,  Col.  John  Eager,  95,  103,  198,  200. 

Howell,  Mr.,  148. 

Hove,  Hon.  John,  96,  103. 

Houdon,  Jean  Antoine,  13,  34;  cast  of  Wash- 
ington by,  148  ;  sketch  of,  1 53  ;  esteemed  the 
best  sculptor,  155;  hospitably  received  by 
Washington,  155;  his  experience  in  sketch- 
ing Washington,  157;  rendered  in  marble 
several  busts  of  Washington,  164. 

Hubard,  William  J.,  162;  his  permission  to 
make  casts  from  the  only  original  statue  of 
Washington  by  Houdon,  162;  his  copy  in 
bronze,  163. 

Hubard,  Mrs.  William  J.,  163. 

Humphreys,  Col.,  159;  letter  of,  to  Washing- 
ton, 238,  239. 

Hunnewell,  H.  H.,  241. 

Hunt,  Gen.,  98,  103. 

Hunt,  Col.  Wesley  P.,  98. 

Huntingdon,  Samuel,  26. 

Huntington,  Gen.  Jedediah,  71. 

Huntington,  W.  II.,  2. 

Hutchinson,  Charles  II.,  13. 

I. 

Independence  Hall,  engraving  in,  by  C.  W. 

Pcale, 
Ingalls,  Rev.  Dr.,  200. 


Ingalls,  Walter,  105. 
Irving.  Washington,  I. 

J- 

Jackson,  Major  (Washington's  private  secre- 
tary), 59. 
Jackson,  President,  196. 

Jacquemart,  Jules,  celebrated  French  engrav- 
er, 241. 

Jay,  John,  26,  71,  72,  170. 

Jefferson,  Thomas,  36,66,  101,  134,  151,  154, 
155<  l57>  !58>  161,  168,  170,  171,  176,  239. 

Johnson,  Mr.,  148. 

Johnson,  Major  Edward,  199. 

Johnston,  John  Taylor,  142. 

Jones,  Samuel,  69. 

Jones,  Judge  Stephen,  107. 

Jones,  Gen.  Walter,  214,  215. 

Jordan,  Eben  C,  241. 

Jouett,  Matthew,  100. 

Juan,  Don,  12. 

K. 

Kearney,  Col.  J.,  214. 

Keltz,  William,  211. 

Kemble,  Gouverneur,  170. 

Kemmelmyre,  an   itinerant  artist,  sketched 

Washington  in  Cumberland,  Md.,  142. 
Kemp,  Dr.  James,  58. 
Kemp,  Right  Rev.  Bishop,  199. 
Kennon,  Mrs.,  109. 
Kennon,  Richard,  14. 
Kennon,  Mrs.  Beverly,  60,  117. 
Keppel,  Capt.,  9. 
Keppel,  Admiral  Lord,  9. 
Kidder,  H.  P.,  241. 

Kimball,  G.  W.,  Esq.,  United  States  Consul 

for  France  in  1S59,  232  ;  address  of,  233. 
Kimball,  Moses,  46. 
King,  Rufus,  164. 
King,  Miss  Annie  S.,  135. 
Kissclman,  F.,  143. 
Knox,  Gen.,  44,  125. 
Kosciusko,  head  of,  244. 

L. 

Lahatut,  a  French  artist,  cabinet  miniature 

on  ivory  of  Washington  by,  27. 
Lafayette,  Gen.,  10,  12,  49,  124,  125,  143,  166. 
Lafayette,  George  Washington,  128. 
Laing,  Mr.  Thomas,  S7. 
Laing,  Mr.  William,  87. 
Lang,  Thomas,  88. 
Lansdowne,  Marquis  of,  80,  108. 
Latimer,  D.  B.,  164. 


Index. 


253 


Latrobe,  Henry  B.,  a  gifted  and  eminent  archi- 
tect, sketch  of  Washington  by,  kindly  fur- 
nished by  his  son,  136;  his  successful 
memorial  of  a  convivial  occasion,  137. 

Latrobe,  Hon.  John  H.  13.,  136. 

Laurens,  Henry,  9,  26. 

Lavater,  93,  133. 

Law,  Mrs.  Elizabeth,  128. 

Law,  Mrs.  Elizabeth  Custis,  71. 

Law,  Mrs.  Elizabeth  Parke,  60,  84. 

Lawrence,  Abbott,  241. 

Lawrence,  Amos  A.,  241. 

Lea,  Isaac,  13. 

Lear,  Col.  Tobias  (Washington's  public  sec- 
retary), 33,  53,  59. 
Lee,  Gov.,  141. 
Lee,  Arthur,  16,  147. 
Lee,  Billy,  52;  decision  of,  67. 
Lee,  Mrs.  Charles,  16. 
Lec,  Francis  Lightfoot,  99,  103. 
Lee,  Gen.  G.  W.  C,  6,  128,  168. 
Lee,  Gen.  Henry,  88,  94,  241. 
Lee,  Col.  James,  reminiscence  of,  178. 
Lee,  Z.  Collins,  98. 

Lee,  Richard  Henry,  16,  103  ;  terse  immortal 

eulogy  of,  175. 
Lee,  Washington,  141. 
Legcn,  Conrad  Van  der,  14. 
Lenox,  Mr.,  42,  90. 
Lenox,  James,  42,  90. 
Lenox,  Walter,  214. 
Leslie,  Mr.  C.  R.,  R.A.,  82. 
Leutze,  Emmanuel,  105,  164. 
Lewis,  Andrew,  176. 
Lewis,  Eleanor  Parke,  47. 
Lewis,  Mrs.  Fielding  (Betty  Washington),  18. 
Lewis,  John  Delaware,  81,  103. 
Lewis,  Major  Lawrence,  72,  124,  138,  242. 
Lewis,  Mrs.  Laurence,  51,  71,  115. 
Lewis,  Mrs.  Morton,  129. 
Lewis,  Dr.  Samuel  C,  30. 
Lewis,  William  D.,  Si. 
Lincoln,  125. 
Little,  James  L.,  241. 
Livingston,  Mr.,  156. 
Livingston,  Brockholst,  8. 
Livingston,  Chancellor,  58. 
Livingston,  Peter  Van  Brunt,  156. 
Locke,  Z.,  13. 
Longacre,  41. 

Lossing,  Benson  J.,  12,  49,  1 16;  "The  Home 

of  Washington"  by,  139. 
Louis  XVI.,  8,  10. 
Loubat,  J.  F.,  241. 

Louterbourg,  W.,  novel  picture  by,  represent- 
ing Washington  taking  his  last  leave  of 
Congress,  143. 


Low,  Mr.  A.  A.,  86. 
Lowell,  John  Amury,  241. 
Lower,  Charles  G.,  13. 
Lowndes,  Francis,  137. 

Lunt,  Hon.  George,  sonnet  by,  native  of 

Newburyport,  190. 
Lyle,  Mr.,  1 1 1. 

M. 

Macdonai.D,  Willson,  sculptor,  166;  meas- 
urements made  by,  abundantly  demonstrat- 
ing that  the  bust  in  plaster  is  from  the 
same  hand  which  made  the  Richmond 
statue,  166,  167. 

Macpherson,  Gen.  William,  ill. 

Madison,  James,  16,  97,  103,  153  160,  161,  211. 

Madison,  Mrs.,  88;  bust  by  Echstein  formerly 
property  of,  150. 

Madison,  Dorothea  Payne,  214. 

Magarge,  Charles,  13. 

Manigault,  144. 

Manley,  Mrs.,  156. 

Manlcy,  J  ,  245. 

Mann,  153. 

Marchetti,  173. 

Marrailes,  Don  Juan,  11. 

Marshal,  Gen.,  8S. 

Marshall,  Chief  Justice,  16,  121,  125,  176; 
president  of  Washington  Monument  Soci- 
ety, 311. 

Marshall,  Thomas,  236. 

Marshall,  William  E.,  10S;  engraver  par  excel- 
lence of  Stuart,  109. 

Marshall,  Lieut.  William  L.,  218. 

"  Mary  Washington  Association  of  America," 
purpose  of,  194. 

Mason,  Col.,  156. 

Mason,  George,  176. 

Mason,  George  C,  78. 

Mason,  Jonathan,  100,  103. 

Mason,  John  Y.,  51 ;  American  minister  to 
Paris,  51. 

Mason,  Robert  M.,  241. 

Mason,  Thomas,  103. 

"Masonic  Portrait,"  by  Williams,  141. 

Masselin,  Capt.,  233. 

Maurice  of  Saxe,  35. 

Maury,  M.  F.,  214. 

May,  Mr.,  217. 

Mayer,  Col.  Brantz,  94,  95  ;  there  are  five  por- 
traits of  Washington  with  head  turned  to 
the  left,  as  stated  by,  94. 

McAllister,  John  A.,  13,  126. 

McCall,  Judge,  97. 

McCall,  Miss  Jane  Byrd,  97,  104. 

McCall,  Hon.  Peter,  97. 

McClellan,  Gen.  George  B.;  49. 


McCormick,  Daniel,  69,  86,  217. 

McCrea,  Stephen,  69. 

McDonald,  Gen.  William,  99,  103. 

McGuirc,  J.  C,  S3;  now  the  owner  of  bust  bv 

Echstein,  150. 
McHenry,  James,  in. 
Mcllenrv,  Col.  James,  129. 
McHenry,  J.  Howard,  ill. 
McKean,  J.  P.,  24. 
McKean,  H.  Pratt,  9. 
McKean,  W.  V.,  13. 
McLaughlin,  Mr.,  219. 
McManus,  Miss  Mary,  186. 
McRea,  Hon.  Sherwin,  95. 
McRea,  Col.  Sherwin,  his  description  of  the 

statue  by  Houdon,  157,  158. 
Mead,  Mr.  Larkin  G  ,  sculptor,  220. 
Meade,  Richard,  170. 

Medal,  an  important  monument  to  fame  of 
George  Washington  is  the  one  commemora- 
tive of  the  "  Evacuation  of  Boston,"  235 ; 
its  purchase,  and  presentation  to  city  of 
Boston,  239,  240;  by  whom  purchased,  241 ; 
most  lasting  of  memorials,  242 ;  "  Perkins  " 
or  "Funeral,"  244;  Eccleston,  244;  first 
Indian,  or  peace,  244;  "Blacksmith's,"  245. 

Menou,  Count  de,  8,  10. 

Menzies,  William,  portrait  of  Washington 
owned  by,  is  considered  a  superior  picture 
by  Wright,  36. 

Mercer,  Hugh  (a  "bra  Scot"),  12. 

Mere,  Le,  67. 

Meredith,  Mr.,  opinion  of,  in  regard  to  Wert- 

muller's  portrait,  50. 
Meredith,  Mr.  George  F.,  91,  103. 
Meredith,  Samuel  R.,  116. 
Meredith,  Thomas,  116. 
Metzeroth,  127. 

Middleton,  Mr.  John  Izard,  171.  • 
Middleton,  Mr.  Williams,  171. 
Mifflin,  Mr.,  147. 

Mills,  Clark,  sculptor,  165,  166,  167 ;  eques- 
trian statue  of  Washington  by,  181 ;  expla- 
nation of  his  work,  182,  186. 

Mills,  Robert,  architect,  of  Charleston,  S.C., 
monument  to  Washington  by,  19S ;  designer 
of  Washington  National  Monument,  212, 
216. 

Miller,  Mrs.  Ellen  Ward,  106. 
Miller,  Mrs.  Thomas,  16. 
Miller,  Gov.  William,  173. 
Moncure,  Mrs.  Jane  Washington,  99. 
Monongahela,  battle  of,  I. 
Monroe,  James,  157. 
Montgomery,  Gen.,  11. 
Montgomery,  Mrs.  John  T.,  97,  104. 
Moore,  Mrs.  Junius  A.,  94,  104. 


254 


Index. 


Moore,  George  H.,  168. 

Moreau,  Mr.  Charles  C,  enthusiastic  collector 
of  engraved  heads  of  Washington,  115. 

Morrell,  105. 

Morris,  Charles  M.,  13. 

Morris,  Mr.  Ellison  P.,  105. 

Morris,  Gouverneur,  26,  161. 

Morris,  John  B.,  94. 

Morris,  Robert,  34,  36,  126. 

Morris,  Mrs.  Thomas  II.,  49,  94,  103. 

Morton,  Gen.,  57. 

Mudge,  E.  R.,  241. 

Munro,  Thomas,  214. 

Munroe,  Peter  Jay,  82,  90,  103. 

Museum,  the  American,  a  cabinet  of  natural 
history,  by  Pierre  Eugene  Du  Simitiere, 
one  of  the  greatest  delights  of  Philadelphia 
a  hundred  years  ago,  24. 

Myers,  Samuel,  95,  103. 

Mygatt,  Mrs.  S.  M.,  59. 

N. 

Napoleon  III.,  Emperor,  232. 
National  Academy  of  Design,  30. 
Nelson,  Thomas,  176. 
Neufville,  M.  de,  67. 

Newburyport,  Mass.,  statue  of  Washington 

by  Ward,  erected  at,  1S9. 
Newell,  Timothy,  236. 
Newton,  Edward  A  ,  106. 

Nichols,  David,  owner  of  "Goodhue  portrait," 

a  crayon  profile  colored  in  India  ink,  36. 
Nichols,  Mrs.  David  II.,  37. 
Nollekens,  St. 

Norcross,  Hon.  Otis,  240,  241. 
Norris,  Dr.  Herbert,  96,  104. 
Norris,  Mrs.  William  Herbert,  96. 
Norton,  C.  F.,  13. 

o. 

Ogden,  Charles  S.,  6. 
Ogilvie,  Professor,  62. 

"Old  South  Church,"  Boston,  copy  of  "  broad- 
side "  on  exhibition  at  the,  23. 
Oliver,  James,  96,  103. 
O'Neill,  J.  A.,  engraver,  36,  47,  141. 
"  Order  of  the  Cincinnati,"  45. 

P. 

Paff,  Mr.  A.,  56,  57. 
Page,  153- 
Palissy,  163. 
Pancway,  George,  69. 
Paon,  Le,  67. 

Parker,  Major  Alexander,  100,  103. 
Parker,  James,  241. 


Parkman,  Samuel,  90,  91,  103. 
Parks,  Major  Andrew,  2. 
Pattcson,  John,  19. 

Peale,  Charles  Willson,  2;  portraits  of  Wash- 
ington, by,  4-17;  pupil  of  Hesselius,  4; 
painted  Washington  fourteen  times  from 
life,  4 ;  life,  character,  and  gifts  of,  4 ;  leading 
promoter  of  Pennsylvania  Academy  of  Fine 
Arts,  4;  picture  of  Washington  by,  12; 
bust  by,  14  ;  miniature  by,  17  ;  made  the  first 
engraving  of  Washington  published  in  this 
country,  19;  mentioned,  155. 

Peale,  James,  superseded  his  brother  Charles 
W.,  who  generously  surrendered  his  orders 
to  him,  iS. 

Peale,  Rembrandt,  2  ;  sketch  of,  42  ;  extract 
from  lecture  of,  92 ;  sketch  of  his  life,  1 18 ; 
words  of  this  venerable  artist,  119;  pupil 
of  West,  119;  endowed  with  varied  gifts, 
120;  his  first  sketch  of  Washington,  121; 
his  encouragement,  122;  his  description  of 
the  painting  of  his  portrait  of  Washington, 
now  owned  by  the  United  States  Govern- 
ment, 123,  124. 

Peale,  Titian  Ramsay,  4,  9. 

Perin,  Mr.,  156. 

Perkins,  Augustus  Thorndike,  I,  2,  100,  104. 
Perkins,  Col.  Thomas  Handasyde,  100. 
Perkins,  Mr.  Thomas  Handasyde,  jun.,  100. 
Peter,  Miss,  15. 

Peter,  Mrs.  Martha,  6,  47,  60,  101,  104. 
Peter,  Mrs.  Martha  Parke,  109. 
Peters,  Judge,  121,  129. 
Peticolas,  Edward  F.,  son  of  P.  A.,  142. 
Peticolas,  P.  A.,  miniature  of  Washington  by, 
142. 

Pettibone,  Mr.,  215. 
Pettrick,  Mr.  Ferdinand,  168,  169. 
Peyster,  Frederic  de,  14. 
Phillips,  Lieut.-Gov.  Samuel,  99. 
Pierce,  F.,  212. 
Pierce,  Henry  L.,  241. 
Pierrepont,  Henry  E.,  85,  86,  103. 
Pinckney,  Rev.  Dr.,  100. 

Pinckney,  Charles  Cotesworth,  28,  100,  103; 
epitaph  on,  by  Fraser,  whose  portrait  he 
painted,  144,  145. 

Pine,  Robert  Edge,  portraits  of  Washington 
by,  39,  40 ;  son  of  the  celebrated  engraver 
John  Pine,  39;  imbued  with  ambition  of 
becoming  the  historical  painter  of  America, 
39;  of  the  school  of  Sir  Joshua  Reynolds; 
39 ;  considered  among  the  best  colorists  of 
his  time,  39. 

Pintard,  John,  69. 

Pitts,  John,  236. 

Pizard,  Mr.  John,  the  well-known  rigger,  186. 


Poitiaux,  Capt.  Michel  Benvcnit,  145. 
Polk,  Charles  Peale,  16. 
Polk,  J.  R.,  212. 

Ponson  Philippe  &  Vibert,  an  interesting 
French  portrait  on  silk  after  Stuart,  pre- 
sented to  city  of  New  York  by,  106. 

Pope  Pius  VI.,  170. 

Poore,  Major  Ben  :  Perley,  46. 

Powel,  Samuel,  silhouette  by,  140. 

Powell,  Mrs.,  33;  nie  Elizabeth  Willing,  re- 
cipient of  a  present  from  the  general,  33  ; 
one  of  the  most  brilliant  of  the  republican 
court,  33 ;  the  best  oil  portrait  of  Washing- 
ton painted  for,  33. 

Powell,  Mrs.  Janette  Thurston,  15. 

Powell,  John  Hare,  33. 

Powell,  Admiral  L.  M  ,  15. 

Powers,  165. 

Prime,  Mr.,  86. 

Proctor,  Mr.,  37. 

Prud'homme,  G.  F.  E.,  171. 

Pruyn,  Mrs.,  98,  99. 

Pruyn,  Hon.  John  V.  L.,  98,  103. 

Putnam,  George  P.,  I,  2. 

Q- 

Quincy,  Josiah,  6;  autograph  letter  by,  ex- 
pressive of  his  pleasure  of  the  Goodhue 
picture,  37 ;  his  opinion  of  the  Savage  por- 
trait, 44. 

Quincy,  Eliza  Susan,  6. 

R. 

Rahl,  Col.,  68. 

Ramage,  John,  highly  esteemed  by  Dunlap, 
114;  description  of  the  dress  of,  114 

Ramsay,  Col.  Nathaniel,  18. 

Ramsay,  Miss  Sally,  156. 

Randolph,  John,  66. 

Rauch,  a  German  artist,  162. 

Rawle,  William,  a  distinguished  lawyer  and 
author,  96,  103. 

Reading,  13,  24,  26. 

Reed,  Joseph,  22,  26. 

Reilly,  Anna  R.,  93,  103;  picture  owned  by, 
and  loaned  to  New  Haven  Art  School,  98. 

Rice,  Alexander  II.,  241,  1S3. 

Richardson,  Miss  Carrie  H.,  100,  104. 

Richardson,  George  C,  241. 

Richardson,  Thomas,  149. 

Richardson,  William,  26,  100. 

Richmond,  Va.,  within  the  walls  of  the  Capi- 
tol at,  stands  the  only  original  statue  of 
Washington,  153. 

Riggs,  George  W.,  164. 


Index. 


255 


Rives,  Mr.  Francis  Robert,  94,  103. 
Rives,  Mrs.  George,  94. 
Roberts,  P.,  112. 
Robertson,  Alexander,  58. 
Robertson,  Andrew,  58. 

Robertson,  Archibald,  called  the  "  Reynolds 
of  Scotland,"  5S ;  miniature  and  portrait 
by,  59;  rendering  of  Washington  by,  of  a 
decided  Scotch  type,  60;  with  exception  of 
Wright,  no  artist  so  little  known,  61  ;  highly 
esteemed  by  Earl  of  Buchan,  62. 

Robertson,  Gilbert,  97. 

Robertson,  Mr.  James  B.,  134. 

Robertson,  Walter,  113. 

Robin,  30. 

Robinson,  John,  "  Father  of  the  Pilgrims,"  64 
Rochambcau,  Count  de,  12,  49,  125,  211. 
Roche,  Major  I)c  la,  aide-de-camp  to  Lafay- 
ette, 143. 

Rogers,  Edmund  Law,  6,  60,  71,  95,  103. 
Rogers,  Randolph,  sculptor,  176. 
Rollinson,  113. 
Ronald,  153. 
Ross,  Betsey,  152. 

Rougemont,  Monsieur  le  Commandant  de, 

232  ;  address  of,  233. 
Rush,  Dr.  Benjamin,  63;  letter  of,  to  Earl  of 

Buchan,  63. 
Rush,  William,  made  bust  of  Washington, 

172;  also  a  worker  in  wood,  172. 
Rutgers,  Col.  Henry,  9S,  103. 

s. 

Safford,  Mr.  A.  II.,  145. 

Sanders,  Mr.  Lewis,  101,  103. 

Sargent,  Daniel,  jun.,  56. 

Sargent,  Mr.  Ignatius,  91,  103. 

Sartain,  John,  19,  41,  46,  47,  96,  109;  cele- 
brated engraver,  206;  the  designer  of  the 
Washington  and  Lafayette  Monument,  206. 

Saunders,  56;  picture  of  Washington  at  the 
Divan  of,  57. 

Saussure,  Henry  William  de,  122. 

Savage,  Edward,  was  first  a  goldsmith,  after- 
wards interested  in  art,  44;  studied  with 
West,  44;  never  a  superior  artist,  44;  three 
portraits  of  Washington  by,  44;  his  alle- 
gorical painting,  44  ;  Gen.  Knox  painted  by, 
44  ;  his  second  portrait  of  Washington,  44 ; 
his  third  presented  to  Harvard  College  by 
himself,  which  is  now  in  the  Memorial 
Building,  45 ;  "  Family  Group  at  Mount 
Vernon  "  by,  46. 

Sayles,  F.  C,  142. 

Scollay,  John,  236. 

Scott,  Miss,  6. 


Scott,  Major-Gen.  Winfield,  214. 
Seaton,  W.  W.,  16,  117,  213. 
Scncr,  Hon.  James  B.,  197,  217. 
Sharp,  20. 

Sharpless,  Mrs.  Elizabeth,  a  successful  minia- 
ture-painter in  water-colors,  132. 

Sharpless,  Felix,  son  of  James,  and  inferior 
to  him  as  an  artist,  129. 

Sharpless,  James,  128;  memorial  engraving 

Shaw,  Cora  F.,  241. 

Sheaffe,  Mr.,  18. 

Shepherd,  C,  publisher,  22. 

Shippen,  Mr.  Edward,  97,  103,  139. 

Shippen,  Joseph,  97,  103. 

Shoemaker,  S.  M.,  95,  103. 

Shurtleff,  Mayor,  response  of,  183. 

Siemering,  German  sculptor  of  Berlin,  204; 
Washington,  monument  by,  204. 

Silhouettes  by  Eleanor  Parke  Custis  are  now 
in  Everett  School,  Boston,  presented  by 
Edward  Shippen  of  Philadelphia,  139. 

Simitiere,  Pierre  Eugene  Du,  a  dilettante, 
delighting  in  art  and  nature  alike,  24;  a 
distinguished  man,  24;  his  death  in  1784 
esteemed  a  severe  loss,  24 ;  portraits  of 
Washington  by,  24;  card  from,  26. 

Simpson,  John,  97,  103. 

Slaymaker,  Amos,  51. 

Smibert,  30. 

Smith,  Gov.,  95. 

Smith,  Charles  Augustus,  237. 

Smith,  Mrs.  Charles  Augustus,  13. 

Smith,  Gen.  Benjamin,  of  North  Carolina, 
94-  103. 

Smith,  Benjamin  G.,  Germantown,  Penn.,  143; 

a  quaint  example  of  work  in  wax  is  owned 

by,  149- 
Smith,  John  R.,  130. 
Smith,  J.  B.  II.,  213. 
Smith,  Gen.  Samuel,  199. 
Smith,  Col.  William,  68. 
Snowdcn,  Hon.  James  Ross,  243. 
Sodcrstrom,  Richard,  87. 
Solms,  Count  de,  presented  with  a  picture  of 

Washington  by  Wright,  34  ;  enthusiastic 

letter  of,  34,  35;  mentioned,  152. 
Solomon,  N.,  Esq.,  vice-consul  for  France  (ad 

interim)  in  1S59,  232. 
Somerville,  William  C,  94. 
Sparks,  Jared,  1,  109. 
Spencer,  Earl,  174. 
Stansbury,  Mr.,  I2t. 
Staphorst,  I.  G.  Von,  Esq,  110. 
Statue  Committee,  183. 
Stevens,  James  Henry,  Esq.,  140. 
Stevens,  Mr.  Simon.  162. 


Stevenson,  Sater,  199. 
Stewart,  A.  T.,  98,  103. 
Steuart,  William,  199. 
Stirling,  Gov.,  1. 

St.  Memin,  Charles  Balthazer  Julien  Fevret 
de,  a  French  refugee,  who  supported  his 
family  by  engraving  heads  of  distinguished 
men  and  women,  37  ;  interesting  souvenir 
by,  134;  became  a  landscape  and  portrait 
painter  of  repute,  135;  made  one  of  the 
best  engravings  of  the  Houdon  Washing- 
ton, 165. 

Stock,  Mrs.,  144. 

Stoddert,  Ben.,  88. 

Stokes,  Montfort,  173. 

Storm,  165,  217. 

Story,  W.  W.,  eminent  American  sculptor, 
now  in  Rome,  168;  proofs  by,  of  the  genu- 
ineness of  the  Houdon  cast,  169. 

Stoutenburgh,  Isaac,  69. 

Struthers,  John,  stone-cutter,  169,  186. 

Struthers,  Mr.  William,  1S6;  wrought  the 
sarcophagi  in  which  the  remains  of  Gen. 
Washington  and  wife  were  placed,  186. 

Stuart,  Miss,  51. 

Stuart,  Mrs.  Gen.,  49. 

Stuart,  Miss  Jane,  84,  90,  91,  106. 

Stuart,  Gilbert,  15,  34,  60,  77  ;  most  eminent 
American  portrait-painter,  77  ;  his  youthful 
indication  of  talent,  77;  pupil  of  West,  77; 
portraits  of  Washington  by,  80-C2  ;  his  most 
famous  portrait,  S3;  Athenaium  portraits 
by,  84-S6;  opinion  of,  who  had  suffered 
greatly  from  piracy  of  artists,  S7 ;  White 
House  portrait  by,  88,  89;  last  full-length 
of  Washington  by,  90-94;  homage  paid  to 
work  of,  95-97 ;  the  last  work  of,  97-100 ; 
splendor  of  his  coloring  softened,  not 
dimmed,  by  years,  107  ;  original  list  of 
paintings  by,  for  whom  executed,  and  by 
whom  now  owned,  103,  104. 

Stuart,  Miss  Rosalie  Eugenie,  130. 

Sturgis,  James  Perkins,  83,  103. 

Sturgis,  John  II ,  82. 

Sturgis,  Russell,  82,  83,  103. 

Sully,  Thomas,  95  ;  certificate  of,  95 ;  pupil 
of  Stuart,  95,  97,  98,  196. 

Sumner,  Charles,  174. 

Swift,  Mr.,  97. 

Sword,  Capt.,  106. 

Symonton,  Mr.  Thomas,  213. 

T. 

Talmadge,  Hon.  Benjamin,  71. 
Tayloe,  Benjamin  Ogle,  101,  104. 
Tayloe,  Col.  John,  101,  103. 


256 


Index. 


Taylor,  Mr.,  155. 
Taylor,  Mrs.,  201. 

Taylor,  Benjamin  F.,  ode  by,  one  of  the  most 
exquisite  gems  that  the  hundredth  birthday 
of  America  called  forth,  186-1SS. 

Taylor,  Zachary,  176,  212. 

Tazewell,  Mr.,  153. 

Tcnncy,  Daniel  J,  1S9;  contract  made  by, 
with  J.  Q.  A.  Ward,  for  bronze  statue  of 
Washington  to  be  presented  to  Newbury- 
port,  1S9. 

Thacher,  Isaac,  241. 

Thatcher,  Judge,  125. 

Thaw,  Miss  Harriet  A.,  105. 

Thayer,  N.,  241. 

Thebout,  Cornelius,  10S,  109. 

"  The  Indian  Hunter,"  the  chef-tPceuTn-e  of  J. 
Q.  A.  Ward,  1S9;  no  work  of  greater  spirit 
and  truth  ever  produced  in  this  country,  189. 

Thomas,  Joseph,  97. 

Thomson,  Mr.,  engraver,  174. 

Thompson,  Mrs.  Hugh,  owner  of  picture  simi- 
Jar  to  the  Vaughn,  94,  103. 

Thorndike,  Israel,  34. 

Thornton,  Dr.,  92. 

Thurston,  Judge.  15. 

Ticknor,  George,  56. 

Tiernan,  Col.,  125. 

Tilbury,  101. 

Tilghman,  Col.,  12. 

Tilghman,  Judge, 

Tilghman,  Mr.  Oswald,  14. 

Tilghman,  Col.  Tench,  14. 

Tisdale,  113. 

Toner,  Dr.  Joseph  M  ,  193,  218. 
Tousard,  Lewis  de,  112. 
Towson,  Gen.  N.,  214. 
Triplett,  Mr.  Will,  155. 

Trollope,  Mrs.,  opinion  of  the  "  American 

Column,"  137. 
Truman,  R.,  102. 
Trumbull,  10,  33,  37,  54,  55. 
Trumbull,  Gov.,  71. 
Trumbull,  John,  poet,  90. 
Trumbull,  Jonathan,  72. 

Trumbull,  Col.  John,  59,  60;  no  artist  had 
closer  relations  with  Washington  than,  64  ; 
every  educational  opportunity  given  him,  64; 
appointed  on  the  staff  of  Washington,  64  ;  his 
arrest,  65;  by  suffering  as  well  as  service 
enrolled  as  one  of  the  heroes  of  the  Revo- 
lution, 65;  his  studies  continued  in  prison, 
w  hich  add  interest  to  those  pictures  executed 
there,  65,  66;  in  1784  produced  his  first 
composition,  66;  his  first  two  works  of  im- 
portance, "  Death  of  Montgomery  "  and  the 
"Battle  of  Bunker  Hill,"  66;  styled  "the 


Painter  of  the  Revolution,"  66;  made 
studies  of  Washington  while  on  his  staff, 
66;  system  of,  72;  his  interest  in  art,  73-75; 
inscription  on  the  tomb  of,  76. 

Tucker,  Professor  George,  of  the  University 
of  Virginia,  94. 

Tucker,  William  W.,  241. 

Tuckerman,  29,  33,  52,  83,  86,  90,  127,  171, 
176. 

Tuley,  Col.  Joseph,  95, 

Tyng,  Rev.  Stephen  H.,  D.D.,  190. 

V. 

Valentine,  Edward  V,  "Masonic  Bust" 
by,  191. 

Van  der  Legen,  Mr.  Conrad,  14. 

Van  der  Legen,  Mr.  Henry,  14. 

Vanderlyn,  John,  one  of  the  most  gifted  pupils 

of  the  Robertson  brothers,  58,  105. 
Van  Home,  Mr.,  30. 
Varick,  Richard,  69. 
Vattemare,  Monsieur,  216. 
Vaughan,  John,  S7,  92. 
Vaughan,  Mr.  Samuel,  92,  103. 
Vaughan,  Mr.  William,  92. 
Vivian,  Mr.,  9. 

Voltaire,  165,  245  ;  designer  of  a  French  medal 

antedating  the  Boston,  245. 
Voorhees,  senator,  195. 

w. 

Wadsworth,  Col.  Jeremiah,  warmly  es- 
teemed by  Washington,  130. 

Wadsworth  Gallery,  portraits  by  Sharpless  in, 
130. 

Wadsworth,  Hon.  Jeremiah,  71. 
Wagstaff,  Mr.  David,  98,  104. 
Wagstaff,  Dr.  Alfred,  98,  104. 
Wales,  George  W.,  241. 
Walker,  Mr.,  129. 
Walker,  J.  G.,  no. 
Walker,  Noah,  180. 

"  Wallace  Box,"  the,  58;  description  of,  61. 

Wallace,  Sir  William,  61. 

Wain,  Miss,  97,  104. 

Wain,  Robert,  97. 

Walsh,  Mr.,  169. 

Walter,  A.  B.,  127. 

Walton,  Mrs.  Anna  S.,  47. 

Ward,  217. 

Ward,  John  Q.  A.,  description  of  statue  of 
Washington  by,  1S9:  his  chef-cTceuvre,  "The 
Indian  Hunter,"  1S9. 

Ward,  L.  S.,  106. 

Warren,  S.  D.,  241. 

Warren,  Susan  Powell,  100. 


Washington,  Life  of,  by  De  Mare,  I  ;  at  battle 
of  Monongahcla,  1  ;  miniature  of,  by  Cop- 
ley, 1  ;  portraits  of,  by  C.  W.  Peale,  4-17  ; 
miniature  of,  by  C.  W.  Peale,  and  its  de- 
scription, 17  ;  first  engraving  of,  by  C.  W. 
Peale,  19;  portrait  of,  by  Nathaniel  Fuller-  ' 
ton,  engraved  by  J.  G.  Smith,  21  ;  letter  of, 
22 ;  verses  on,  22,  23 ;  portrait  of,  by  Alex- 
ander Campbell,  22  ;  portraits  of,  by  Pierre 
Eugene  Du  Simitiere,  24 ;  cabinet  minia- 
ture on  ivory  of,  by  Labatut,  presented  to 
Charles  Cotesworth  Pinckney,  27 ;  minia- 
tures of,  by  Barbiere- Walbonne,  29 ;  por- 
traits of,  by  Dunlap,  of  little  value,  3c; 
the  best  oil  portrait  of,  by  Joseph  Wright, 
is  still  retained  in  the  Powell  famfly,  33 ; 
portrait  of,  taken  in  Philadelphia,  34;  por- 
traits of,  by  R.  E.  Pine,  39,  40  ;  first  portrait 
of,  by  James  Peale,  42 ;  portrait  of,  by 
Peale  in  1795,  43!  reply  of,  to  request  of 
Mr.  Pine  to  sit  for  his  picture,  40;  portraits 
of,  by  Adolph  Ulric  Wertmuller,  50,  51  ; 
flattering  description  of,  by  an  old  gentle- 
man, 52,  53;  the  Boston  Oratorio  Portrait 
of,  by  Christian  Gulager,  56;  reception  of 
Archibald  Robertson  by,  59;  miniature  and 
portrait  of,  by  Archibald  Robertson,  59; 
reply  of,  to  Earl  of  Buchan,  62;  the  will 
of,  in  regard  to  the  "  Wallace  Box,"  62,  63 ; 
first  portrait  of,  by  John  Trumbull,  and  its 
description,  67 ;  will  of,  in  regard  to  Billy 
Lee,  67  ;  second  portrait  of,  by  John  Trum- 
bull, painted  twelve  years  after  first,  68; 
one  of  the  most  highly  prized  portraits  of, 
by  John  Trumbull,  is  now  in  City  Hall, 
New  York,  68 ;  portrait  of  "  Washington 
the  President,"  by  John  Trumbull,  70;  re- 
quest of,  71  ;  portraits  of,  by  Stuart,  80-83  ! 
famous  eulogy  on,  130-132;  sketch  of,  by 
Henry  B.  Latrobe,  136;  bust  of,  in  Christ's 
Church,  Salem  Street,  Boston,  presented  by 
Shubael  Bell,  146;  equestrian  statue  of, 
and  its  description,  147,  148;  cast  of,  by 
Houdon,  148;  his  description  of  the  pro- 
cess for  preparing  plaster  of  Paris,  illus- 
trating one  of  his  strongest  characteristics, 
—  his  attention  to  detail,  156;  statue  of, 
by  Horatio  Greenough,  175;  statue  of,  by 
Thomas  Crawford,  176;  first  equestrian 
statue  of,  was  made  by  Henry  Kirke 
Brown,  the  largest  casting  in  bronze  ever 
made  in  this  country,  178,  179;  equestrian 
statue  of,  by  Clark  Mills,  181 ;  statue  of,  by 
Joseph  A.  Bailey,  and  programme  of  cere- 
monies at  unveiling  of  it,  184,  185;  most 
recent  statue  of,  erected  at  Newburyport 
in  1S69,  189;  ceremonies  at  unveiling  of 


Index. 


257 


statue  of,  at  Newburyport,  190;  only  four 
monuments  to  memory  of,  192;  first  monu- 
ment of,  placed  on  site  of  old  homestead 
in  Virginia,  by  G.  W.  P.  Custis,  and  cere- 
mony of  depositing  the  stone,  193;  monu- 
ment to,  by  Robert  Mills,  and  description 
and  ceremony  of  laying  corner-stone  of  it, 
198-200. 

Washington,  Judge,  121. 

Washington,  Mrs.  ("  fair  widow  Custis"),  3. 

Washington,  Charles,  17. 

Washington,  Mrs.  Ann  Ball,  239. 

Washington,  George  Augustine,  157. 

Washington,  George  Custis,  41. 

Washington,  George  Steptoe,  99,  239. 

Washington,  John  Augustine,  io5. 

Washington,  Col.  John,  140,  1S2. 

Washington,  Col.  John  A.,  165,  167. 

Washington,  Judge  Bushrod,  33,  io5,  116,  242. 

Washington,  Mrs.  Elizabeth,  47. 

Washington,  Mrs.  Ella  Bassctt,  38. 

Washington,  Harriet,  2. 

Washington,  Miss  Kitty,  156. 

Washington,  George  Lafayette,  239',  240. 

Washington,  Lawrence,  106. 

Washington,  Lewis,  41. 

Washington,  Lewis  W.,  through  the  governor 
presented  to  State  of  Virginia  the  site  of 
birthplace  of  Washington,  194. 

Washington,  Martha,  17;  letter  of,  17. 

Washington,  Mrs.  Mary,  a  demolished  monu- 
ment to,  in  Fredericksburg,  Va.,  196. 

Washington,  Mildred,  17. 

Washington,  Dr.  Nicholas  Custis,  122. 

Washington,  Samuel,  t,  239. 

Washington  monument,  19S,  204. 

Washington  and  Lafayette  Monument,  206; 
inscriptions  on,  207,  208. 

Washington  National  Monument,  209-212; 
designed  by  Robert  Mills,  213;  inscription 
on,  213,  214;  laying  of  corner-stone  of,  214; 
contribution  of  memorial  blocks  to,  221-234. 

"  Washington  Statue  Committee,"  organiza- 
tion of,  183. 

Washington,  Mr.  Warner,  238. 


Washington,  Col.  William,  brilliant  cavalry 

officer,  140. 
Washington,  William  Temple,  98,  99. 
Waterman,  J.,  108. 

Watson,  Elkanah,  3;  painting  of  American 

flag  by  Copley,  described  by,  3. 
Watson,  Mr.,  of  Charleston,  27. 
Watson,  Miss  E.  F.,  of  New  York  City,  27. 
Watterson,  George,  214. 
Webster,  Daniel,  212,  242. 
Webster,  Mrs.  William  Grcenleaf,  beautiful 

cabinet  by  Sharpless,  owned  by,  130. 
Wcightman,  James,  13. 

Welch,  Thomas  B  ,  admirable  work  by,  109. 
Welsh,  William,  107. 
Welsh,  Hon.  John,  107. 
Wendell,  Oliver,  236. 

Wertmuller,  Adolph  Ulric,  24;  an  accomplished 
Swedish  artist,  emigrated  to  United  States 
in  1794,  devoted  art  student,  and  taste  im- 
proved by  association  with  culture,  50. 

West,  Benjamin,  5,  30,  32,  5S,  65,  66,  159. 

Wharton,  C.  II.,  M.D.,  20. 

White,  Bishop,  121. 

White,  Gen.  Anthony  Walton,  owner  bf  min- 
iature by  E.  Sharpless,  132. 

Whitman,  Mr.  W.  A.,  panel-engraving  of 
Washington  owned  by,  19. 

Whitney,  Charles,  241. 

Whitney,  Henry  A.,  241. 

Whittlesey,  Elisha,  214. 

Wigglcsworth,  Thomas,  241. 

William,  Duke  of  Cumberland,  41. 

Williams,  portrait  by,  141. 

Williams,  Capt.,  15. 

Williams,  Mr.  Cumberland,  100,  103. 

Williams,  Samuel,  81. 

Williams,  Timothy,  So. 

Williamson,  Mr.  Thomas,  95. 

Winchester,  David,  198. 

Winder,  Gen.,  the  "  Veardley  Collection,"  the 

property  of,  1 29. 
Winder,  Dr.  R.  B.,  13S. 
Winder,  Levi  (R  W.G.M.),  199. 
Winstanley,  87,  91,  92;  landscape-painter,  93. 


Winthrop,  Dr.,  144. 

Winthrop,  Mr.,  oration  of,  216. 

Winthrop,  Hon.  Robert  C,  9,  71,  99,  104,  1S3, 
214,  216,  240,  241;  refers  to  entertainment 
in  King's  Chapel,  where  Gulager  made  his 
first  picture  of  Washington,  55. 

Wirt,  William,  135. 

Wise,  Henry  A.,  162,  163. 

Wolcott,  J.  Huntington,  24c 

Wolcott,  Hon.  Oliver,  164. 

Wolff,  10. 

Wood,  George  B.,  13. 
Woodside,  Capt.  John  D.,  201. 
Woodward,  W.  Elliott,  244. 
Wool,  Jeremiah,  69. 

Wright,  Joseph,  21  ;  likenesses  of  Washington 
by,  several  portraits  in  oil,  a  crayon  pro- 
file, and  a  small  etching,  32;  no  artist  less 
known,  or  more  to  be  trusted,  32  :  a  Quaker, 
32;  did  not  do  justice  to  his  subject,  very 
nervous  and  modest,  32 ;  one  of  the  truest 
and  strongest  artists  America  ever  pro- 
duced, 37  ;  etching  by,  37  ;  appointed  first 
engraver  of  United  States  Mint,  38;  his  de- 
sign for  a  cent,  38;  his  death  in  1793,  3§ ; 
directed  by  Congress  to  make  cast  of  Wash- 
ington's face,  148 ;  his  misfortune,  14S. 

Wright,  Joseph,  father  of  the  artist,  32,  149. 

Wright,  II.,  109. 

Wright,  Mrs.  Patience  Lovell,  32 ;  mother  of 
Joseph  Wright,  a  woman  of  great  ability, 
151;  executed  bust  in  wax,  151;  letter  of, 
151. 

Wylley,  John,  69. 
Wynne,  Thomas  II.,  3. 

Y. 

Veardley  Collection,  account  of  the,  129. 

Young,  Mr.,  121. 

Young,  Alfred,  1 

Young,  Right  Hon.  George,  162. 

Yorktown,  capitulation  of,  12. 

Z. 

Zandt,  Wynant  Van,  69. 


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